Go

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(action, comedy, crime)
'Go' is set mostly during one long Christmas Eve in the lives of a group of young adults on the events surrounding a drug deal in Los Angeles replayed three different times from three different views. In a straightforward manner; when slacker Simon Baines (Desmond Asknew) takes off for a getaway to Las Vegas with his friends, Ronna (Sarah Polley) takes his shift at the 24-hour grocery store where they work. When two guys, named Adam and Zack (Scott Wolf and Jay Mohr), walk in asking to score some dope from Simon, Ronna takes it upon herself and her friends Claire (Katie Holmes) and Mannie (Nathan Bexton) to buy some some stuff from the local drug dealer Todd Gains (Timothy Olyphant). But the drug deal is a sting that Adam and Zack are forced to set up by an overzealous narcotics agent, Burke (William Fichtner). Ronna is forced to dispose of the drugs. With no other alternative, she tries to double-cross Todd with phony drugs. Meanwhile in Las Vegas, Simon's adventures with his best friend Marcus (Taye Diggs) hit an unfortunate turn during a trip to a strip club, while Adam and Zack end up spending Christmas Eve with Burke and his wife Irene (Jane Krakowski), and afterwards while driving to a rave that Ronna is dealing, the guys accidentally hit Ronna with their car and leave her for dead. Nearby, Mannie nearly OD's on dope, and Claire gets more friendly with a vengeful Todd whom is now looking for Ronna.

actors:

Katie Holmes	as Claire Montgomery
Sarah Polley	as Ronna Martin
Suzanne Krull	as Stringy Haired Woman
Desmond Askew	as Simon Baines
Nathan Bexton	as Mannie
Robert Peters	as Switterman
Scott Wolf	as Adam
Jay Mohr	as Zack
Timothy Olyphant	as Todd Gaines
Jodi Bianca Wise	as Ballerina Girl
William Fichtner	as Burke
Rita Bland	as Dancing Register Woman
Tony Denman	as Track Suit Guy
Scott Hass	as Raver Dude
Natasha Melnick	as Anorexic Girl

directors:
Doug Liman
rating:7.30

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"Volver" reads like a very Good second by an offer very Good
up and coming director. You can almost see a bright future for all
involved in the film, the director (Doug Liman)
the screenwriter (John August) all young players. The script is clearly the winner,
with witty dialogue and a tortuous plotline (or plotlines, depending on
see how) centred around a dozen genx-er in Los Angelenos
Christmas Eve. The film moves slickly you a plotline to the next, as you follow
a minor disaster leading to other disasters minors.

The film from being a "second offer," of course, has some drawbacks. Yes,
is tangential derivative of "Pulp Fiction". And yes, yes
scrounge a bit for this movie for teenagers and that. In some cases, some wrap-up plotlines
up too well, and in other cases the plotlines converge not nearly as
clearly insufficient. But what the film may lack originality that certainly makes
for stylish and peculiarities.

The real discovery in all this is the cast. Sarah Polly highlights (
listen to his slight Canadian accent across sheet from time to time) as the world weary
petty cash that the first and only foray into drug trafficking unleashed a legion
problems for her. Desmond Askew (wonderful punny name) is the
Pulp Fiction, Tim Roth, glib and cocky as well as their orderly world-and whirls
crumbles around him in a perfectly choreographed disaster. As the casualty provider
drugs, Timothy Olyphant is particularly threatening, exuding
equal amounts of danger and innocence, sexiness and insecurity. The characters in
"Go" will never become cardboard parodies of themselves, and never dissolve
in Charicature themselves for the sake of plot or
atmosphere.

So you see the film, plunging into the plot, atmosphere and characters. At the risk of sounding glib
me, by all means "Go".
Saboteurs on it. I

at the end of this movie in the flow of comments, meaning that critics have
commentors and beaten to death `Pulp Fiction 'comparisons. Yes, this has
parallel stories, folding time (but not the time to stir
"Pulp"), white and black revolver, weapons and drugs ironic violence, dining scenes
hip and a perspective. But for me is that unless the central relationship
how to style.

Tarantino is the method of comic books, his handling of narrative
deliberately has nothing whatsoever to the story itself. That is
point that the vacuum. "Return" is the opposite. It takes much of the same stylistic
manipulation of the narrative and makes all the services
movie: the film meanders capriciously, as the small lives of these children.
Now, a notion that is not very heavy to resolve, but is cinematically
deep in linking the point of the film to the unrolling of the
images.

In other words, if you love the visual grammar of the film, you'll love this. If
on the other hand you prefer to use the art of making films to show the emptiness of
film, you like `Pulp '. They are as different as can be. 'Back'
following the tradition of Hitchcock and Welles, where the `history 'focuses on
images. `Pulp 'is still a world totally contradictory defined by the` new wave
"in which each image is ironic and deliberately does not rest in the history
but is contrary to it.

At some point, each viewer will face serious film this election. This is a question whether
lets you Go yourself 'with the flow or
always maintain a distance smug.

The writer understands this, and makes explicit the story with 'C', which
has two players. They are recruited on a firm `moviedom '
in real life, where they are wired for sound and video. Further, his teacher
participates in trade forced. This is reflected in the history of B with the lap dance
`show 'and slightly more in A with the sale at the store and
rave. All these kids are engaged in shameless debt, but sales of film
for us.

I have a very short list of players worth seeing, regardless of the context
. Cate Blancett, Kate Winslet and Julianne Moore are actresses I
continue due to its ability to make more than one personae at once.
Sarah Polley is close to being in that list, but not for the same reason. She
- or their advisers - has made some very smart decisions, putting
at the heart of its role in some alternative projects. These are the films that
demand - even in the observation - a deliberate change in thinking about what is
film. In each, she has appeared with radically different acting styles,
always entirely apt. This shows that she understands what these non
these are subversive projects. Privately, his policy seems
surprisingly unsophisticated, but its plasticity deliberate screen shows a remarkable ability
.

Ted's evaluation - 3 of 4: It is worth seeing.

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See also: Action: Executive Decision

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