Okay, I am thoroughly convinced now. There are no more original ideas left in Hollywood, at least that’s what this years crop of movies is showing me for the most part. Let us review, shall we?

So far, just in 1999, we’ve had Pygmalion (She’s All That), Taming of The Shrew (10 Things I Hate About You), and, showing that great movies can be copied as well, Dangerous Liaisons (Cruel Intentions). Now, are you sensing a trend here? All of these movies were done with, and aimed at, the youthful crowd of America. The future of America, which should make most of us (me being on the upper end of Gen-X) shudder with fear.

Now we at least have a movie that has upped the age group a bit (moving from late teens to early 20s), and, another copied idea. This time, Quentin Tarantino’s 1996 masterpiece, Pulp Fiction, is the culprit.

Ever since the success of that movie, many filmmakers have tried to capture the aura, the originality, and the sheer brilliance, which purveyed through Fiction, but few have succeeded. Director Doug Liman, has made a bold and valiant attempt at it however, but unfortunately, falls just a tad short.

This is the tale centering on a drug deal. Three concurrently running sagas told from three different perspectives. Ronna, Simon, and Adam & Zack are all Southern Californians living in the fast lane of life, looking for an exit, or escape. Whether it is through drugs, money, acting, or just hiding, each seeks something from the City of Angels. I’ll save how the three of them are tied together, for the movie to explain. I wouldn’t be ruining any secrets, but is nice to watch it unfold.

If drug use bothers you, this would be one to avoid, the drugs flow freely, and the morals are loose. The general impression that most of us get of the Southern California lifestyle.

Each of these characters is portrayed rather effectively, save one, which would be you Mr. Wolf.

I believe there is a reason that your success has come on the small screen, because when they expand the screen size, your lack of ability almost makes Dolph Lungren doing Shakespeare look appealing. You are very bland, unemotional at some times, overacting incredibly at others. Were it not for a nice performance from cohort Jay Mohr, to save you, that storyline really would’ve taken away from the joy and energy of this film. But, just as much as I disliked, and was annoyed, by Wolf, I was charmed, and impressed, by the powerful emotionally real performance of Sarah Polley. This makes two diverse, yet powerful performances in a row for Polley, who last dazzled as the wheelchair bound victim in The Sweet Hereafter. This time, Polley delves into another side of emotions. She shows that odd combination of manipulative innocence, through her always wide-open eyes (both figuratively, and literally), and actually takes your attention away from the frenetic pace when she’s onscreen.

I applaud the attempt as well, to reach out to our generation in tribute, look for nods to The Breakfast Club, and Ferris Bueller here as well. Also, I am convinced that the director has a fascination with Vegas, and he shoots it better than most I’ve seen in a while. It made me a bit homesick for there. Final kudos in general, to the music selection. It pumps, it jumps, and yet, mixed, masterfully in the middle of all the techno beats, is a chase scene backed by the Steppenwolf classic Magic Carpet Ride. I applaud any movie that can get away with that, and this one does.