Word: pulp
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...fits right into that mold, and it may be the most unabashedly recycled story line for the 15-to-25 demographic released along this trend. It blatantly cops the perspective and nihilism of Pulp Fiction while riding high off the insouciant youth cool of films such as Fast Times at Ridgmont High. Updated with a late 90s reference, the all-night rave, and late 90s stars, Go is not so much a well-scripted movie as it is an entertainingly frivolous amalgamation of keen actors and cinematographic one-liners. There's a sensation of recognition that pervades the movie, that...
...fits right into that mold, and it may be the most unabashedly recycled story line for the 15-to-25 demographic released along this trend. It blatantly cops the perspective and nihilism of Pulp Fiction while riding high off the insouciant youth cool of films such as Fast Times at Ridgmont High. Updated with a late 90s reference, the all-night rave, and late 90s stars, Go is not so much a well-scripted movie as it is an entertainingly frivolous amalgamation of keen actors and cinematographic one-liners. There's a sensation of recognition that pervades the movie, that...
...turns out that Jelly's boss, Paul Vitti (Robert De Niro), hasn't been feeling well lately. He hasn't been his usual heartless self. He can't beat his enemies to a pulp anymore. "You havin' one of them mind-grains?" Jelly asks. Paul insists he's having a coronary but feels well enough to pound the doctor who dares to tell him it's only an anxiety attack. Jelly decides to be helpful and gives his boss Ben Sobol's business card...
...streetwise young men fall into a lot of trouble) and expands it exponentially. His story has four gangs of four, and three other tough-guy twosomes, all trying to screw or do in their rivals. Since Tarantino revived the crime genre, it has devolved into a contagion, a virtual pulp affliction, of high body counts and low quality; it needed new blood, and not just from the effects department. That's where Ritchie comes to the rescue...
When beautician Polly Tishun (Michael Kennedy '99) blooms from her stuttering shy-girl cocoon and becomes a sexy, successful presidential candidate, we not only see gender-bending acquire an occupational valence but also a post-feminist re-telling of the American teenager's Bildungsroman, embedded in a politicized pulp paradigm that we have not seen since the 60s (aka Celine Dion). Kennedy is fully aware of all the dimensions of his character but still manages to add symbolic layers even as he sheds tactile ones...