Revisit Go: The Wild '90s Crime Caper Netflix Just Unleashed

Remember when movies dared to be messy, ensemble-driven, and packed with pop-culture chatter alongside petty crime? If you came of age in the '90s, you likely do. That era, heavily influenced by Quentin Tarantino's groundbreaking Pulp Fiction, gave us a steady stream of features where character actors truly shone, embraced questionable decisions, wielded firearms with reckless abandon, and waxed poetic about the trivial while committing low-level felonies. It was as fundamental to the decade's cultural fabric as Nirvana's angst or the revolutionary Super Nintendo.

Among the best of these films, though often overlooked, is 1999's Go, a post-Tarantino crime caper brimming with an impressive cast. This holiday season, Netflix has kindly dropped this underrated gem, making it the perfect time to rediscover its chaotic charm.

The '90s Pulse and an Unlucky Debut

Go has, over the years, found its footing as a cult hit, but its initial theatrical run was a classic case of incredibly bad timing. Picture this: April 1999. The world was about to be irrevocably altered by The Matrix, which landed in cinemas just a week prior to Go's release. While Go garnered some respectable box office numbers and positive critical reception, it never truly stood a chance against the cultural hydrogen bomb that was The Matrix. In the grand scheme of cinematic retention, Go was a mere coughing baby trying to stand up to a titan. Yet, despite being overshadowed, its vibrant energy and unique structure have allowed it to persist in the minds of those who did catch it, building a dedicated following. It's a snapshot of a particular moment in American indie cinema, full of pre-Y2K anxieties and late-night rave vibes.

One Wild Night, Three Intersecting Tales

Director Doug Liman's Go masterfully weaves an anthology narrative, drawing inspiration from both Pulp Fiction's non-linear storytelling and Jim Jarmusch's Mystery Train's segmented approach. The film unfolds across a single, frantic Christmas Eve night in Los Angeles, centered around an all-night rave.

Our journey begins with Ronna (Sarah Polley), a supermarket checkout clerk desperate to avoid eviction. A chance encounter with two seemingly random strangers looking for drugs presents her with a risky opportunity for quick cash. Despite her inexperience in dealing, Ronna is confident she can source the goods.

Next, we meet Adam and Zack (Scott Wolf and Jay Mohr), two soap opera actors caught in a drug possession bust. Instead of jail, they're coerced into an entrapment scheme targeting their regular dealer. They don't find him, but they do find Ronna, who sees their desperation as another lucrative opportunity.

Finally, we follow Simon (Desmond Askew), Ronna's co-worker and, coincidentally, Adam and Zack's usual ecstasy hookup. Simon's road trip to Vegas has spiraled wildly out of control, culminating in him fleeing the city with a pair of vengeful strip club bouncers hot on his heels. All three stories cleverly intersect and collide, creating a dizzying tapestry of mishaps and unexpected connections.

A Future Star's Playground

Watching Go today is like flipping through a yearbook of future Hollywood heavyweights. It's a delightful "hey, it's that guy!" experience, showcasing early, star-making turns from actors who would become household names. Timothy Olyphant, whom many now recognize as the stoic Raylan Givens from Justified, delivers a surprisingly sleazy performance as a drug dealer. Melissa McCarthy, long before her Saturday Night Live and Bridesmaids fame, brings her comedic timing to the ensemble. Jane Krakowski of 30 Rock also appears. The film also features Katie Holmes at the peak of her Dawson's Creek popularity, the ever-charming Breckin Meyer (pre-Robot Chicken), and a scene-stealing Taye Diggs (Rent, Equilibrium) whose energy is infectious. These performances, many from then-unknowns, are a major reason the film feels so fresh and alive.

The Last Hurrah of a Genre?

In retrospect, Go feels like a significant marker, arguably signaling the twilight of a cinematic era. The cultural landscape was about to undergo a radical transformation. The twin forces of Blade and The Matrix didn't just introduce new films; they ushered in an entirely new aesthetic for the 2000s—a "blasted hellscape of techno and tight leather," as the source aptly puts it. This dramatic shift effectively pushed quirky, grounded crime movies like Go out of mainstream fashion. Prior to 1999, audiences could reliably count on several such films hitting theaters each year. Post-1999, however, the focus shifted dramatically towards slow-motion combat and high-octane chases. Even Quentin Tarantino, the very pioneer of the genre, embraced this new visual language with his Kill Bill saga in 2004. If this theory holds true, then Go stands as a vibrant, hilarious, and ultimately fitting send-off to the post-Pulp Fiction crime movie wave.

Verdict: Get Going with Go

This movie is a low-stakes, high-velocity rollercoaster, surprisingly cohesive despite its multiple moving parts. Its snappy dialogue, relentless pace, and collection of star-making performances make it a thoroughly enjoyable watch. If you're craving a dose of authentic '90s chaos with a killer soundtrack and a cast that's now legendary, Go is your ticket. Don't miss this comedic gem while it's lighting up Netflix.

FAQ

Q: What is Go about?

A: Go is a crime-thriller anthology film from 1999 that follows three interconnected storylines over a single chaotic Christmas Eve night in Los Angeles, involving drug deals gone wrong, police entrapment, and a wild road trip to Las Vegas.

Q: Why is Go considered a forgotten film?

A: Despite positive reviews and a solid cast, Go was released in April 1999, just a week after The Matrix. Its release was heavily overshadowed by the monumental cultural impact of The Matrix, leading it to be largely forgotten by mainstream audiences.

Q: Who are some notable actors in Go?

A: The film features early performances from many actors who would later become famous, including Sarah Polley, Katie Holmes, Scott Wolf, Jay Mohr, Timothy Olyphant, Taye Diggs, Melissa McCarthy, Jane Krakowski, and Breckin Meyer.