Gone in 60 Seconds ( 2000 ) is better than it's rating suggests
👁 5
https://blenderdumbass.org/reviews/the_landmark_impact_of_dominykas_the_horse_s_journey_to_the_stars : 👁 1
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by Blender Dumbass
Aka: J.Y. Amihud. A Jewish by blood, multifaceted artist with experience in film-making, visual effects, programming, game development, music and more. A philosopher at heart. An activist for freedom and privacy. Anti-Paternalist. A user of Libre Software. Speaking at least 3 human languages. The writer and director of the 2023 film "Moria's Race" and the lead developer of it's game sequel "Dani's Race".
What is it with Jerry Bruckheimer of the late 90s and early 2000s and with Nicolas Cage? First in 96 we get Michael Bay's The Rock. A year later in 97 Jerry puts Cage in Simon West's Con Air. And then in 2000 Dominic Sena under the supervision of Bruckheimer puts Nicolas out of his Cage and into a driver's seat of 1967 Ford Shelby GT500, in the subject of this review, the loose remake of H. B. Halicki 1974 film Gone in 60 Seconds. ↩ Reply
26% Rotten Tomatoes rating doesn't seem like a good indicator. The film must have been stupidly terrible. Right? Well if you read my other reviews you sometimes may see that ratings are not necessarily the best predictor of enjoyment. A lot of the "best movies" are dull as fuck. And a lot of the "worst" ones are entertaining as hell. And Gone in 60 Seconds is not an exception. Yes it is a bit rough. But so is Con Air and so is The Rock and so are most Jerry Bruckheimer produced films. But Jerry Bruckheimer is Jerry Bruckheimer and Jerry Bruckheimer has a very fucking good sense for entertainment value. ↩ Reply
Like in Con Air this film has an ensemble cast. We obviously get Nick Cage showing us the unbearable weight of his massive talent. We get Robert Duvall who helped Cage's uncle Francis Ford Coppola win some Oscars on The Godfather films. We get Angelina Jolie who you may know from other Angelina Jolie movies. We get Giovanni Ribisi who worked with Steven Spielberg on Saving Private Ryan and will work with James Cameron on Avatar. We get Will Patton who had the most emotional arc in another Bruckheimer movie, Michael Bay's Armageddon. ↩ Reply
We get an evil British character in the form of Christopher Eccleston who played an evil British character in a Danny Boyle's 28 Days Later. We get a nice British character ( that sometimes can be a little intimidating ) in a form of Vinnie Jones who you may know from early Guy Ritchie films like Lock, Stock and Two Smoking Barrels and Snatch. Which is by the way an interesting Bruckheimer moment here. I discussed on my review of Bad Boys how Michael Bay apparently got inspired by Tarantino to change the dialogue in the movie. And that prompted Bruckheimer to actually hire Tarantino for dialogue touch-ups for Tony Scott's Crimson Tide and Bay's The Rock ( giving us a film where Michael Bay directs Tarantino dialogue spoken by Nicolas fucking Cage ). But then Tarantino apparently had enough of this job and quit working on other people's movies. So poor Jerry has a problem now. ↩ Reply
In that same time, on the other side of the globe, young Guy Ritchie was imitating not just the dialogue of Tarantino, but his entire writing style altogether with his first few films. Which coincidentally are also starring... you guessed it, Vinnie Jones, who gets then hired by Bruckheimer, probably chasing some remains of the Tarantino sauce. Even if it's Pepsi. ↩ Reply
But the cast doesn't stop there. We get Scott Caan who appears throughout the Steven Soderbergh's Ocean's Eleven franchise. We get Timothy Olyphant who actually ended up working with Tarantino on Once Upon The Time In Hollywood. We get Chi McBride who worked with the legendary Alex Proyas alongside Bad Boy's Will Smith on I, Robot. We get Frances Fisher who worked with Cameron on Titanic and we even get Arye Gross who played the husband character Howard Marks in 2002 Steven Spielberg epic ( which ended up being the cause for Michael Bay to quit Bruckheimer and join Spielberg ) called Minority Report. ↩ Reply
The plot of the movie is simple: our protagonist needs to GTA 50 rare cars in one night, for a mafia boss, unless he wants his brother to die. It feels a little bit like Ocean's Eleven heist, but not because of some big game money ambitions. The reason is personal, in an attempt to paint the characters as morally right. Maybe that was what the critics thought was kind of weak. The entire cast of thieves are either inexperienced teenagers who didn't start doing anything illegal yet. Therefor they are innocent. Or old car thieves who decided long time ago that this sort of thing isn't for them. And now are forced to do it, to save a live of somebody near and dear to them. Perhaps the movie could work emotionally a lot better if the protagonists just wanted to steal those cars, because they just wanted to steal those cars. ↩ Reply
The director Dominic Sena is actually quite good. The opening sequence moves with pretty compositions. And the action in this film is a bit less rough than the stuff Bay and West were putting out in those days. I do think, though, there is one major flaw to Dominic Sena. He tries to take the characters seriously and then goes for a Bruckheimer action scene with them, with a cool techno track playing as the characters chase each other or something. This doesn't quite work. Bay uses a more traditional score which works a lot better. At least at that time. If you look at something like 6 Underground ( a fairly recent Michael Bay film with a very mature action direction from Bay ), you can hear him use a mixture of no-music, a score or a known pop-song, for the most interesting moments. Dominic Sena in Gone in 60 Seconds just uses a bad techno-beat bullshit which is just cringe to listen to. ↩ Reply
There are good music action scenes in the film. The ending with the Ford Mustang is scored properly. And the main moment of that sequence ( the jump ) has some proper tension building score which explodes into a crescendo of orchestral magic. Good stuff. But sometimes you just roll your eyes from the tonal whiplash the music gives you in this movie. ↩ Reply
The movie is far from being a bad film. It doesn't have this bad movie vibe, that something like Ultraviolet, or The Room might have. It looks and feels like a proper summer blockbuster ( from that time ). And yet there is this feeling of slight weirdness to it. I cannot put it into words. Some shots and sometimes entire sequences feel a bit strange. I have this gut feeling that something about it doesn't quite work. But I can't see what exactly. ↩ Reply
Perhaps it is the lack of tension building, for most of the action scenes. We just go-go-go, but why be excited about it? Good film-makers will always build toward something like this, even a little bit. Here oftentimes we have nothing at all. The action just starts out of nowhere. It doesn't mean that the movie isn't ever building to anything. It surely does. But not as well as other Bruckheimer films. Not as well as Simon West did in Con Air. And surely not as well as Michael Bay does. ↩ Reply
Happy Hacking!!! ↩ Reply
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