And this isn't like PULP FICTION. It cuts back to show what's happening to all characters during the same period of time and how they all come together. Which, if you've seen PULP FICTION, isn't what that film did.

This is probably the best film along with ELECTION so far up through the summer of 1999 at least, that didn't get promoted right. They could have been huge blockbusters if they were promoted right, because they're that good.

GO along with ELECTION are probably the most entertaining movies you'll see this year. ELECTION is hilarious, while GO is more of a dark comedy.

The writing is excellent. I laughed like hell with the whole amway thing and how the cop came on like he was gay and was just trying to get them to buy amway. (:

The DVD Extras are cool too. They got 3 music videos, (all good except for the NO DOUBT video which is kinda weak), 14 deleted scenes, making-of-featurette, and a audio commentary with the director and editor.

Do NOT pass "GO" on DVD

Set on hristman Eve is Los Angeles, the story begins in a 24-hour supermarket where english loose cannon Simon (Desmond Askew), asks fellow employee , Ronna (Sarah Polley) to cover his shift. Faced with eviction if she cannot summon up some recent money fast, Ronna decides to try her hand at a little drug peddling. Approached by two amiable actors at the check-out, she decides to broker a drug deal. Adam and Zack (Scott Wolf and JayMohr) need 20 Ecstasy pills and were hoping to acquire them from Simon. No problem, says Ronna. So, after work, she meets up with Simon's dealer in the hope of negotiating a quick profit. But having aquired the pills - and left her friend Claire Montgomery (sexy Katie Holems) as a 'human collateral' at the dealers apartment - she senses that she is being set up by Zack and Adam and flushes the pills down the dunny... As Ronna's night escalates into a complete and utter nightmare, the film suddenly flips back to its starting point where we follow Simon to Vegas. Here, Simon, too quickly finds himself out of his depth as his weekend of partying turns decidendly sour. And then, in the film's final stretch, Adam and Zack take over centre stage and eventually all the strings of the story pull themselves together, leading to a very satisfactorily griping and explanatory climax.

The second feature from the director of the cult 1996 hit Swingers, Go is edgy, crafty, suprising, sly, unexpected, gripping and disarming cinema. Add to this generous lashings of violence, humour and hot nudity and you're watching a movie taht delivers in spades.

In addition, the audience is treated to a thunderously terrific soundtrack of pulsating class acts, including Massive Attack, Leftfield, Fatboy Slim and Lenny Kravitz. What more resons do you need to see the movie? GO!

The movie begins normally enough. The fanfare music plays, and there's the statue of the lady with the torch, which tells is this is a Columbia Picture. Suddenly, the studio music is cut off by lively rock and roll. We are suddenly in the midst of a huge rave party. The credits quickly roll, and we are whisked off to a supermarket, the kind where today's kids unhappily toil in order to get the money to pay for their fun, which is lot more expensive than the fun their parents had.

We see young Ronna [Sarah Polley] waiting on a customer in the check out line. She's the kind of customer who quickly puts the work ethic on shaky ground. Then Ronna goes to clock out. Her friend, Claire [Katie Holmes], advises coworker, Simon [Desmon Askew], that this is not a good time for him to ask Ronna for a favor. He doesn't listen. You need to pay close attention to this scene, because it is repeated twice later in the movie and is critical to the densely woven plot.

I don't want to give away much of the story, because it's one of the delights of Go. The plot is not complex, but it unfolds in such a clever way that, if you blink, you miss something. I will say only that it revolves around a drug deal gone wrong and that it is told from three different viewpoints.

The young cast is far from being world famous, but it's a sure bet that some of the actors will be one day soon. The Canadian Sarah Polley is an awesome talent. Taye Diggs, who played Angela Bassett's young lover in How Stella Got Her Groove Back, is hysterical as Marcus, a bright but somewhat too impulsive hustler. Equally amusing is Desmon Askew, whose character, Simon, does bad things because he is too clueless to know the difference between right and wrong. All of the players are first-rate. I think we have in Doug Liman a true directorial talent. The mark of a great director is the ability to elicit from actors performances that are several cuts above what they normally give. They make even ordinary actors shine.

Go is a very modern movie. It uses all the techniques people learn while working on commercials and music videos. Liman uses them wisely. All the quick cuts and odd camera angles are in perfect synch with the style and subject matter of the film. Too often, such tricks are used to mask the fact that a movie is all style and no substance. Here we have both elements in equal parts.

This is a movie for people who either are or who yearn to be free spirited and open-minded. It is certainly not for the judgmental or the self-righteous. It's subject matter may be on the wrong side of the tracks, and it may not send the politically correct messages we insist our kids should see and hear today - as of they were incapable of forming their own opinions. But its heart is in the right place, it is very funny, and it rarely treats its characters unkindly. That's more than can be said of many so-called uplifting Hollywood pictures which are ultimately hollow and empty.

There are so many memorable moments in Go that some of them are still playing in my head. The movie is full of memorable characters, most of which you wouldn't bring home to met Mom. Still, in a way that only the magic of movies can do, they are a lovable bunch of rascals. I am sure I will see them again several times.