Liman and cast 'Go' the distance

Of all the "Pulp Fiction" clones of the past five years, not a single one has gotten it even remotely right. But "Go" tries its damnedest, and while like all the others it can only dream of approaching the originality of its predecessor, there ought to be points for that.

Featuring a meandering story that is told from various character perspectives on Christmas Eve - and even, in repeated scenes, various camera angles, which is a nice touch - "Go" stars a young ensemble cast that delights with its acting prowess even when the plot gets a little kludgy. Things get started in the grocery store check-out line and wend their way to an antihistamine-fueled rave, a look-but-don't-touch strip club, Vegas, baby, Vegas and beyond as "Go" just keeps on going.

Courtesy of Columbia Pictures Sarah Polley plays in a puddle while Nathan Bexton waits for her in "Go."

The characters blessed with their own segments (announced by title cards) are supermarket superstar Ronna (Sarah Polley), Simon (Desmond Askew) and unlikely TV star duo Adam and Zack (Scott Wolf and Jay Mohr, respectively). The four cross paths as a result of a stale drug deal that results in a cold medicine quick buck at the rave for Ronna, two girls at once for Simon and lots of orange juice for the two soapers.

Also in the mix are Claire (Katie Holmes) and Mannie (Nathan Bexton), Simon and Ronna's coworkers at the supermarket, drug dealer Todd Gaines (Timothy Olyphant), slim shady Burke (William Fichtner) and his lovely wife Irene (Jane Krakowski) and Simon's Vegas buddies Marcus (Taye Diggs), Tiny (Breckin Meyer) and Singh (James Duval).

Doug Liman certainly doesn't make it easy to avoid mention of Vegas with his second, less ostensibly honeybaby-oriented (instead using equally hot grungybabies) directorial effort after the ubiquitous "Swingers." But "Go" is so chock full of momentum and vibrance that it could have easily sidestepped the Vegas trap - only it doesn't, and it doesn't have to, because this is a new Vegas with all new alternately self-confident and bumbling characters who end up on the run after an ill-fated lap dance.

"Go" also works in tantric lovemaking, shrimp food poisoning, borrowed credit cards and mistaken identity - all within five minutes of hitting the Vegas strip. Back in Los Angeles, there are crosses and double crosses resulting from a complicated drug transaction (not to mention "moving up the drug food chain without permission"), capitalist schemes and the unlikeliest of bedfellows. In one of the film's most successful subplots, Mannie goes on a bad trip and Liman goes crazy with addled point-of-view shots.

The real standouts in the cast, though, are Polley, Olyphant and Diggs. Polley looks to finally be hitting the commercial market and introducing herself to mainstream moviegoers with this film after her incredible work in "The Sweet Hereafter," "Exotica" and the long-running television series "Avonlea." Her sharp, snarky performance gets "Go" off to a running start. Olyphant and Diggs both make strong impressions as the vengeful Todd and Marcus, the lad who hasn't had ejaculated in six months thanks to tantric meditations.

But Holmes tends to get lost by the wayside, not even meriting her own version of events although she does have the honor of kicking off the film. This is more the fault of the script than of Holmes, who does what she can with a slightly reduced role.

Fichtner provides the film's biggest laugh as Burke during an impromptu Christmas dinner with his wife and his two unfortunate charges, Adam and Zack. Two words: "Amway." A John Hughes reference also makes "Go" worth going to.

The bright lights of the big city in the desert and the crazy world of the rave complement well the smart, wise-cracking script by John August. Although not nearly as groundbreaking as the aforementioned "Pulp Fiction," "Go" holds its own thanks to its spirited characterizations and Liman's direction and lensing. The result is a less glamorous, more teen-oriented film that entertainingly romps its way through seedy alleys and garish neon, ending up right where it begins but much the wiser for its journey.

04-09-99