Go

Few films embrace the hedonic nihilism of the Y2K phenomenon better than Go, director Doug Liman’s 1999 post-Pulp Fiction era comedy that shifts perspectives and narrative gears with giddy cinematic energy, sending its characters on an ecstasy-fueled bender…only to have them wake up and face another day of suburban monotony. Forget the run-on sentence, this is run-on filmmaking at its most frantic, flawed and fashionable.

Facing impending eviction, grocery store cashier Ronna (Sarah Polley) recruits her fellow employees to score some X from a local drug dealer (Timothy Olyphant) in hopes of making a quick sale to two prospective buyers (Scott Wolf and Jay Mohr). But the plan goes awry, putting each character in a predicament that only seems to get worse as the night progresses.

Using a Run Lola Run format, John August’s script starts over from the same spot every 20 minutes or so, following a new protagonist – and a new series of misadventures – that neatly weave together in the end. The dialogue is Tarantino-lite, but the execution makes for an unpretentious good time, channeling all the juvenile pranksterism of an ‘80s college comedy with a more dangerous modern edge.

You can thank the cast for much of that, particularly Sarah Polley and Timothy Olyphant, who own their segments with such surprising gravitas that the film suffers every time it cuts away from them. But Go wants you to have a good time, so there’s always some light in the darkness. Add in some Katie Holmes for teen appeal, a few thumping needle drops, drug-induced comedic asides and an unexpected streak of sweetness, and Liman’s film keeps the party alive without pretending it can last forever.

Bumped up to a well-deserved 4K UHD from Arrow Films, this limited edition includes a new critics commentary to go along with the archival Liman track, new interviews with John August and co-star Desmond Askew, deleted scenes, Making of, August’s short film God starring Melissa McCarthy (who also cameos in Go), collector’s booklet and reversible sleeve. The film itself gets the benefit of Dolby Vision encoding which really elevates the night photography without ruining the late ‘90s indie aesthetic.

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