I just watched the recent–let’s see what they’re calling it–director’s cut. A director’s cut without director’s audio commentary. It features nine extra minutes, the most noticeable being a few shots where you see tit. Before DVDs, directors’ cuts meant something (even if they weren’t exactly the director’s cut). Blade Runner and Touch of Evil meant something. Maybe not so much with Touch of Evil, actually. The recent directors’ cuts or extended versions often mean very little. They change the route over the topography, without changing the starting or ending point.
From this particular director, before Gone in Sixty Seconds, I wasn’t expecting much of anything. He made Kalifornia–which is great–then disappeared. After Sixty Seconds, he made Swordfish (a Bruckheimer knock-off, who knew such a thing could exist) and then… disappeared. He’s not a young turk either, he was 51 when he made Gone in Sixty Seconds, which makes sense more for Kalifornia (it had a sure, adult feel to it). Still, I thought this director’s cut might mean something….
Gone in Sixty Seconds has a number of great ingredients. It has a story rife with human conflict–responsible brother saves numb-skulled brother–in addition to the best-ever Bruckheimer cast: Delroy Lindo, Will Patton, Robert Duvall, Vinnie Jones, Chi McBride, Frances Fisher. Giovanni Ribisi is fantastic, back when he got work. Cage holds it all together in one of his “big movie star” roles, never counting the paycheck in his head, as visible in his other Bruckheimer collaborations (The Rock and Con Air). Angelina Jolie is mediocre more often than bad (though I didn’t realize her lips were so big in this one, so I guess the image is punk rock collagen) and the less said about Christopher Ecceleston the better. And for most of the movie, it works.
And I’m not even talking about the multiple false endings. The film, from the opening credits, establishes itself as a family drama. Sure, a big budget, Bruckheimer family drama, but one none the less. Then, all of a sudden, the family drama disappears. If it was replaced by the set pieces, the car thefts and such, I’d understand. But it isn’t. It isn’t even replaced by the Jolie/Cage romance subplot (which doesn’t work–she looks like his kid). It just disappears. Luckily, the film falls back on Delroy Lindo to hold up the rest of it and he does. Except when it relies on Will Patton and Robert Duvall, who are also very good people to depend on.
Directed by Dominic Sena; screenplay by Scott Rosenberg, based on the film by H.B. Halicki; director of photography, Paul Cameron; edited by Tom Muldoon and Chris Lebenzon; music by Trevor Rabin; production designer, Jeff Mann; produced by Jerry Bruckheimer and Mike Stenson; released by Touchstone Pictures.
Starring Nicolas Cage (Memphis Raines), Giovanni Ribisi (Kip Raines), Angelina Jolie (Sara Wayland), T.J. Cross (Mirror Man), William Lee Scott (Toby), Scott Caan (Tumbler), James Duval (Freb), Will Patton (Atley Jackson), Delroy Lindo (Detective Roland Castlebeck), Robert Duvall (Otto Halliwell), Christopher Eccleston (Raymond Calitri), Chi McBride (Donny Astricky), Timothy Olyphant (Detective Drycoff), Grace Zabriskie (Helen Raines) and Master P (Johnny B.).