Review
Review
When I saw Joseph Kahn's feature debut, Torque, in 2004, it seemed to herald the advent of a new genre, which it didn't launch (McG's Charlie's Angels did) but completely embodied: "non-sequitur" cinema, in which set pieces and bombastic visual style not just circumvent but basically replace conventional storytelling. If there was a both best and worst extension of the glossy, hyperkinetic aesthetic that movies borrowed from music videos, this was it, and God help you if you couldn't keep up with its candy-coated imagery, lightning-fast editing, and narrative cohesiveness that more resembled an overstuffed plate from the pop-culture equivalent of an all-you-can-eat Vegas buffet than most films' carefully-chosen, multi-course meal.
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