Gone in Sixty Seconds (2000)

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Ebert’s verdict is mixed, with the film’s car-theft premise offering limited appeal. The cars are more compelling than the characters, though neither makes the film especially engaging.

Berry finds the film short on action and plot, making its lengthy buildup hard to justify. She singles out the car-focused premise and a decent final chase as its strengths.

The review finds the film entertaining but underwhelming as an action movie. It praises Vinnie Jones’s scene-stealing performance and the cast’s laid-back charisma.

Newman finds the film shallow, derivative and emotionally empty, though its glossy action has some appeal. He singles out the loud music, fast editing, overqualified cast and cool cars as its compensations.

French finds the film a typical, macho caper whose characters are thin and unengaging. He singles out the expensive cars as taking precedence over the characters, while the villain fails to frighten.

The critic finds the remake underpowered despite its flashy presentation. They fault its lack of grunt and growl beneath the hood.

The critic gives the film a strongly negative verdict, calling it crude, stupid, and degrading. They single out the repetitive car thefts and the film’s glamorisation of violence as especially objectionable.

The critic finds the remake dreadful and says it fails even as a car-chase film. They single out the choppy editing, which destroys the chase’s spatial coherence and excitement.

Morrall finds the film watchable as a popcorn blockbuster despite its weak, implausible script. He singles out the action and motoring stunts as excellent, while criticizing the film’s testosterone-heavy treatment of its female lead.