Good to Go 1986
In *Good to Go (1986)*, a seasoned journalist in Washington, D.C. finds himself tangled in a web of deception after a tragic crime near a vibrant Go-Go club.
Director: Blaine Novak
Cast
Frequently Asked Questions
What is Good to Go (1986) about?
A jaded journalist in Washington, D.C. uncovers a web of police deception after a violent crime near a Go-Go club. His investigation reveals systemic racism and a city willing to bury the truth. The film blends crime, music, and social commentary into a gripping thriller.
Who directed Good to Go?
Good to Go was directed by Blaine Novak, who crafts a tense narrative that merges crime drama with the cultural rhythms of D.C.'s Go-Go music scene.
Who stars in Good to Go?
The film features Art Garfunkel in a lead role, supported by Robert DoQui, Harris Yulin, Keith Johnson, and Richard Brooks.
Is Good to Go (1986) worth watching?
While *Good to Go* isn't widely rated, its unique blend of crime thrills and social themes makes it a compelling watch for fans of gritty, character-driven dramas. The film's exploration of racism and journalism offers depth, even if its execution is uneven. If you're into 80s thrillers with a cultural twist, it's worth a look.
How long is Good to Go?
Good to Go has a runtime of 90 minutes.
About Good to Go (1986) — A journalist uncovers corruption in D.C.'s Go-Go scene
In *Good to Go (1986)*, a seasoned journalist in Washington, D.C. finds himself tangled in a web of deception after a tragic crime near a vibrant Go-Go club. Misled by police narratives that conveniently overlook systemic racism, he takes matters into his own hands, exposing the dark underbelly of a city—and a nightlife scene—built on inequality. Directed by Blaine Novak, this crime-thriller with a musical pulse blends gritty realism with the pulsating energy of Go-Go music, creating an atmosphere that's as tense as it is culturally charged.
Starring Art Garfunkel alongside genre stalwarts like Robert DoQui and Harris Yulin, the film weaves a story of justice delayed and truth obscured. As the journalist digs deeper, the line between victim and perpetrator blurs, forcing viewers to confront uncomfortable truths about power, prejudice, and who really holds the microphone in America's capital. It's a story that resonates as much for its social commentary as for its suspenseful edge.