Action films, like films in general, used to be much cheaper and more affordable in the past then they are today. Good example could be seen in Gone in 60 Seconds, 1974 film whose author Hal B. Halicki had only 150,000 US$ of budget, yet managed to deliver the longest car chase in the history of cinema and set the record for number of motor vehicles actually destroyed during the course of a single film. Halicki, a stuntman, actor, writer, producer and director, obviously liked his work, but, sadly paid the ultimate price for it by getting killed in 1989 on the set of unfinished sequel. Eleven years later Gone in 60 Seconds was remade as big budget film directed by Dominic Sena and produced by Jerry Bruckheimmer.
The protagonist, played by Nicolas Cage, is Randall “Memphis” Raines, once the best car thief in Los Angeles who six years ago ended his successful criminal career in order not to set bad example to his younger brother Kip (played by Giovanni Ribisi). Unfortunately, Kip didn’t listen to Randall and instead became member of his brother’s old gang, now controlled by vicious British gangster Raymond Calitri (played by Christopher Ecclestone). When Kip botches one lucrative job, Randall is forced to return to Los Angeles and plead for his life and offer financial recompensation. Calitri, however, demands that Randall does another big job him instead. His task is to steal fifty cars with exact specifications during the course of single night. Randall knows that it can’t be done without the help of experienced former associates, that include old mentor Otto (played by Robert Duvall) and former girlfriend Sara “Sway” Wayland (played by Angelina Jolie). Randall’s team begins meticulous preparation for difficult heist and isn’t particularly impressed by Roland Castlebeck (played by Delroy Lindo), police detective who six years ago failed to arrest Randall and now sees Randall’s return to city as his second chance.
Gone in 60 Seconds was greeted with hostility by critics who saw it as just another example of the disturbing trend of Hollywood studios ruining reputation of 1970s cult classics with bloated, uninspired and forgettable remakes. Being produced by Jerry Bruckheimmer, film maker known for loud expensive films with plenty of style and little content, didn’t help either. Some of critics’ complaints, at least at first glance, are valid. Plot is very simple and characters are cardboard. Nicolas Cage, despite his reputation for intensity in his role, delivers one of the more forgettable performances of his career. Angelina Jolie, who was just building her stardom, appears very little in the film despite being prominently featured in posters and the rest of film’s marketing. On the other hand, her presence in heavy macho setting of professional car thieves looks like an exploitative attempt to bring as many targetted male audience as possible. Even solid British actor like Christopher Ecclestone is wasted in the one-dimensional role that conforms to Anglophobic cliches of 1990s Hollywood, with only a Cockney accent making him different from British aristocratic villains in other films. Bruckheimmer, on the other hand, brings Vinnie Jones, one of the more iconic “heavies” of British cinema, in the short but effective role of protagonist’s eccentric friend. Giovanni Ribisi and Delroy Lindo are solid in their respective roles, but the rest of the cast, even when it includes some notable names, doesn’t deliver anything remarkable.
Bruckheimmer, on the other hand, tries to inject the film with ingredients his formula like permanent sunset, action scenes that often doesn’t have any connection with common sense and loud soundtrack being played when it is and when it isn’t necessary. Despite that, Gone in 60 Seconds looks better that expected. Script by Scott Rosenberg uses plot structure which seems strangely elaborate for this sort of film. There is actually very little action in first segments of the film and the large amount of time is used for setting up characters and preparation for final heist. Some critics were actually complaining about the lack of action in the film, which is quite rare for Bruckheimmer’s productions. Director Dominic Sena, on the other hand, tries to depart from domineering MTV style of action cinema and Gone with 60 Seconds looks more like a proper film than extended music video. Despite more than solid box office, it failed to produce profit, mostly due to overblown marketing costs. Those who watched the film liked it and today’s audience might easily agree with that verdict, although Gone with 60 Seconds is also very likely to be quickly forgotten.
RATING: 5/10 (++)
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