The crime caper Go feels like a crystallizing moment for Liman and his aesthetic, even if the movie’s chattiness originated elsewhere.
Doug Liman is not a writer-director, but in 1999, he could have been mistaken for one – specifically one who emerged in the post-Tarantino goldrush, hoping to carve out a piece of that personality cult for themselves.retreads enough of its predecessor’s L.A.-to-Vegas pathway to make Liman seem particularly fixated on the nervous-energy patterns of semi-fashionable teen-to-twentysomethings at the end of the 20th century.
Again, the pop-culture live-wire is not exactly an image of Liman that’s played out in his subsequent career. But style-wise, the youthful jitters ofremains the most vital of the series, despite the ever-shakier camera of the Paul Greengrass-directed sequels. It’s what propelsforward with such relentless buzz, using Tom Cruise’s repeated do-over deaths as punctuation.
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