Go (released in theaters on April 9, 1999) kicks off with a frantic energy that never lets up, following three interconnected stories triggered by a single botched drug deal on Christmas Eve.
The plot begins with Ronna, a grocery store clerk desperate for rent money, who decides to play amateur dealer when her coworker Simon heads to Las Vegas.
Things spiral out of control when she encounters two soap opera actors, Adam and Zack, who are working with a high-strung narcotics officer named Burke.
Meanwhile, Simon’s Vegas odyssey descends into a chaotic night involving a strip club fire and a stolen car, while Adam and Zack find themselves trapped in a bizarre dinner party hosted by Burke and his wife.
The narrative structure, which resets the timeline to follow different perspectives of the same night, creates a pulse-pounding mosaic of Los Angeles rave culture, crime, and youthful desperation.
The ensemble cast delivers electric performances that defined a generation of rising stars.
Sarah Polley is exceptional as the cynical but resourceful Ronna, while Katie Holmes provides a grounded vulnerability as her friend Claire.
Scott Wolf and Jay Mohr exhibit great comedic timing as the bickering actors caught in a legal nightmare, and Timothy Olyphant gives a breakout, menacing performance as the drug dealer Todd.
The film is further bolstered by the presence of William Fichtner, whose eccentric turn as Burke is both terrifying and hilarious, alongside Jane Krakowski, Taye Diggs, Breckin Meyer, and J. E. Freeman.
Under the stylish direction of Doug Liman, the movie moves with a rhythmic, music-video intensity that perfectly captures the frantic spirit of the late nineties.
Jay Mohr and Scott Wolf in Go (Photo/Columbia Pictures)
Reception for Go
Go grossed $4.7 million on its opening weekend, finishing sixth at the box office.
The film would gross $28.5 million worldwide.
Roger Ebert gave Go three out of four stars in his review.
Legacy
The legacy of Go is cemented by its reputation as one of the most successful and creative examples of the post-Tarantino multi-narrative trend.
It distinguished itself from its peers by infusing the crime genre with an authentic rave-culture aesthetic and a sharp, satirical wit that mocked the entertainment industry.
It served as a vital stepping stone for Liman, showcasing the kinetic visual style he would later bring to major blockbusters.
Furthermore, the film remains a cult classic for its sharp dialogue and its ability to act as a time capsule for 1999, capturing the fashion, music, and restless energy of a youth culture on the brink of a new millennium.
Go continues to be celebrated for its daring structure and its refusal to play by traditional storytelling rules, remaining a high-water mark for independent cinema of its era.
