by Yazmin Ghonaim

GONE IN 60 SECONDS Dominic Sena (2000) Gone in 60 Seconds, directed by Dominic Sena (Kalifornia) and written by Scott Rosenberg (Con Air), is a remake of the 1974 cult classic by the same name and directed by H. B. Halicki. Gone in 60 Seconds sensationalizes the love of expensive cars by creating a story around its characters' extreme desire to possess the pricey machines. Gone in 60 Seconds tells the story of the vulnerable Kip Raines (Giovanni Ribisi), whose entanglements with the mob bring back his estranged older brother, Randall "Memphis" Raines (Nicolas Cage: Bringing Out the Dead). A recovered and renowned car thief, Memphis is forced to accept a new deal: he must steal 50 automobiles in one night in exchange for his brother's life. Managing to recruit old partners and form a crew, which includes ex-girlfriend Sara "Sway" Wayland (Angelina Jolie), Memphis and Otto Halliwell (Robert Duvall) orchestrate the most ambitious plot of their lives. Complications arise as Detective Roland Castlebeck (Delroy Lindo) seizes the long-awaited opportunity of capturing the elusive Memphis. A film which seems to offer a potentially intriguing premise, ripe for unleashing thrilling action scenes, Gone in 60 Seconds quickly exhausts its hopeful recourses. The initial introduction of the protagonist's problematic situation --his need to revive the old addiction of thieving and to risk his freedom-- presents no real dilemma, for the character does not question his desire to save his brother's life. Furthermore, the character does not at any moment ponder upon the possibility of outsmarting his extortionist. Instead, Memphis' instinct is to trust his ability to break his own record of fast car-stealing and of eluding the authorities. While this presents a valid choice, that is, the film's concern with creating a character who will resolve all problems behind the wheel, Gone in 60 Seconds fails to successfully crystallize this expectation. Unlike Halicki's film, best known for its 40-minute chase scene and destruction of over 90 cars, Sena's Gone in 60 Seconds relies on chase scenes that are too brief to compensate for the lengthy set-up. After an hour worth of scenes which introduce the premise and which depict the mechanics of the character's plan and preparation to steal the vehicles, the second hour of the film is ripe for the execution and its complications. However, Gone in 60 Seconds suffers from repetitive scenes and clumsy resolutions, which fail to maintain suspense and which dilute the drama. Thus, the screenplay's reappearing potholes, the mediocre action scenes, and the implausibility of the climactic moments (specifically when Memphis attempts to elude persistent police cars) make Gone in 60 Seconds an example of the elusive nature of good entertainment and deprive the viewer of a truly rewarding ride.		DVD Music Books Search by keywords:
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