Out of Sight

Tags

1990's, Albert Brooks, Comedy, Crime, Dennis Farina, Don Cheadle, George Clooney, Jennifer Lopez, Luis Guzman, Out of Sight, Romance, Steve Zahn, Steven Soderbergh, Ving Rhames

Film Title

Out of Sight

Director

Steven Soderbergh

Starring

• George Clooney as Jack Foley
• Jennifer Lopez as Karen Sisco
• Ving Rhames as Buddy
• Steve Zahn as Glenn Michaels
• Don Cheadle as Maurice ‘Snoopy’ Miller
• Albert Brooks as Richard Ripley
• Dennis Farina as Marshall Sisco
• Luis Guzman as Chino

A sterling crime romance, with lashings of humour tossed in, Out of Sight as directed by the great Steven Soderbergh is an eccentric, adroit and sexy movie that is filled with unpredictability and wit. Sparkling and burning chemistry between George Clooney and Jennifer Lopez forms the electricity of this sizzling Elmore Leonard adaptation that is fast-paced and riotously entertaining.

Jack Foley is a bank robber who rather than using weapons or force, employs his wit and considerable charms to make off with money. But his good luck changes when he is finally arrested after the car he was trying to get away in stalls. Sentenced to a long jail sentence, Jack quickly plots an escape with his right hand man on the outside Buddy, and proceeds to piggyback on another escape by a group of fellow prisoners. While breaking out of prison, it is witnessed by tough federal marshal Karen Sisco, who Jack and Buddy are forced to kidnap so she doesn’t raise attention as they make a getaway. Locked in the trunk with each other, Jack and Karen find a strong sexual pulse between them, despite them being on different sides of the law. Now while there is an obvious heat, Karen still takes the time to escape when the occasion arises, using Jack and Buddy’s unreliable tag along thief Glenn to help her unwittingly after he meets them half way through the journey. Jack and Buddy continue on in their journey to Detroit in their plan to steal uncut diamonds from a prisoner they both knew who foolishly spoke of his stash of riches, but smooth Jack can’t stop thinking about the chance encounter with Karen and for her the feelings are reciprocated despite her better judgment. She remains on Jack’s tail, while wrestling with whether she wants to bring him in or sleep with him. Meanwhile, the always stoned blabber mouth Glenn had also been mixed up with the vicious and mercurial ex-con Maurice ‘Snoopy’ Miller, who also wants to get the diamonds for himself and is not above cold-blooded murder to do so. With both groups of criminals vying to achieve this big score, and with Karen and Jack finding their feelings for each other getting stronger, how will all of this mayhem come to a head and what will become of them all? To spoil that would be a big sin, but I’ll say that things get eventful extremely quickly.

Steven Soderbergh has to be one of my favourite directors out there and with Out of Sight, it’s a dazzling display of his talent that represents one of his finest hours. Playing with intricate flashbacks that establish character motivations, a fine balance between romance and amusing action and some very cool freeze frames, Soderbergh is on fire here for all of us to witness. He clearly relishes directing this flick and imprints his highly visual sense of storytelling on the hard-boiled but witty plot; making sure that it isn’t overly goofy and employing sudden moments of violence to add to the sense of danger already generated first by the attraction between Jack and Karen. One of the standout scenes for me is the trunk scene; bathed in red and intimately shot which acts as an unusual first date under strange circumstances that sets in motion the dangerous fire between Jack and Karen, as they make conversation and discover an inescapable mutual desire. The other standout us the inter cut one between Jack and Karen as they flirt and play with fire, while in corresponding shots undress and give into passion against a snow-covered backdrop of Detroit. Out of Sight moves at such a quick pace that brings out the enjoyment and devilish thrills, but thankfully doesn’t sacrifice character development or amusing banter. A witty script has the lines and rapport between characters held to a high standard the whole way through Out of Sight, giving it another impressive weapon in its arsenal. A seriously groovy and retro flavoured score brings the entertainment and right mood to Out of Sight, imbuing the film with a slick and cheeky sound and atmosphere.

George Clooney is an irresistible screen presence as the laid back Jack, who can charm just about anyone but meets his match in the curvaceous form of Karen. Clooney owns the cool persona of the character and it’s impossible not to be taken in by this guy and his smile. Jennifer Lopez delightfully spars with Clooney, crafting Karen as a tough, sassy but with a touch of humour character, trying to decipher what to do with Jack once she catches up with him. And you can’t ask for a better chemistry than the one that Clooney and Lopez share here, which is supremely hot stuff. Dancing a dangerous tango akin to a sexy game of cat and mouse, as their loyalties and ideals get in the way, they form a sensual centre to Out of Sight that ignites the screen with a seductive flame. Ving Rhames has some hysterically funny lines in his performance as Jack’s right hand man and criminal with a conscience Buddy, who is baffled by Jack’s infatuation with Karen as it poses jeopardy to their plan. A scene stealing Steve Zahn appears as the permanently stoned hapless thief, who desperately wants to be hip but fails almost all the time. Decked out in dark sunglasses(even when it’s night) and an array of shaggy coats, Zahn has real fun playing this character who joins the rogue gallery of colourful characters found in Out of Sight. Don Cheadle has the right manic tendencies and off the wall personality to play the crazed Snoopy, who is someone you really don’t want to get mixed up with. Filling the other eccentric and amusing characters with style are Albert Brooks, Dennis Farina and Luis Guzman, who show customary greatness in their respective supporting roles.

Stylishly directed by Steven Soderbergh( in my view this is one of his best movies), exceedingly well cast and executed with the right amount of humour and thrills, Out of Sight is energetic movie making that burns with sexiness and colourful events that ensure you won’t forget it in a hurry.

Ocean’s Thirteen

Tags

2000's, Al Pacino, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Ellen Barkin, Elliott Gould, George Clooney, Matt Damon, Ocean's Thirteen, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Thirteen

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Al Pacino as Willy Bank
• Ellen Barkin as Abigail Sponder
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Elliott Gould as Reuben Tishkoff
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul Bloom
• Shaobo Qin as Yen
• Bernie Mac as Frank Catton

The concluding movie in the classy and cool caper series, Ocean’s Thirteen thankfully returns to the vein of the first movie after going off the boil with Ocean’s Twelve. And thank goodness Thirteen delivers the goods as I was a bit apprehensive of which way this movie could go. I’m happy to report it went in a very slick direction and was an enjoyably breezy affair.

Thirteen begins with flamboyant but lovable businessman Reuben Tishkoff being tricked into signing over his share of a new casino to egotistical Willy Bank. Reeling from the shock, Reuben suffers a heart attack and remains bedridden from the experience. Angered, suave Danny Ocean reconnects the old team; slick Rusty, thief Linus, outrageous Basher, the amusingly feuding Malloy brothers Virgil and Turk, witty Frank, technology guy Livingston, old con man Saul and acrobatic Yen. As revenge on the traitorous Bank, Danny wants to humiliate him on the opening night of his new casino. Formulating a plan to rig the games by infiltrating suppliers so that Bank will be cleared out of money, tarnish his sterling reputation and just about anything else to ruin him, the gang knows that if it is successful justice for Reuben will be done. Yet one part of the plan requires a powerful underground drill to simulate an earthquake and after one attempt, the drill breaks forcing them to rethink. Eventually, though they’re all reluctant to do so, they acquire the service of former enemy Terry Benedict, who can finance them with a new drill and get his own back on old rival Bank. Benedict also wants to steal an extensive diamond collection belonging to Bank which adds even more danger to the complex plan. It’s getting this elaborate plan to flow smoothly that poses the biggest problem, as well as Bank’s eager to please PA Abigail and whether or not Terry will double cross anyone. So will Danny and his merry band of thieves be able to pull of this vengeance fueled plan?

Once more, Steven Soderbergh shows of his flair for panache with inspired direction that utilizes many of the snappy visual tricks he so often likes to use. His use of split screen and overlapping images creates a jazzy and snazzy effect as the revenge plan playfully begins. Las Vegas looks a million dollars and the characters do too, in a film that thanks to Soderbergh’s great devilish eye flows along nicely as mischievous plans and justice is served to Bank for misdeeds. Whereas Ocean’s Twelve went completely overboard with its twists, Thirteen keeps it a bit more simple and largely benefits from not indulging in show off tactics. The plan that Danny and the crew formulate is essentially a complex revenge game, but for the audience it never becomes too complicated to understand as we’re rooting for their plan to work on the dastardly Bank. A wonderful script, filled with wit and hilarity, brings out the fact that the crew isn’t doing this job for a thrill. The job is for something more personal than just money or wealth, proving that there may in fact be honor among thieves after all. There is the added bonus of the chemistry with the cast again and the fact that almost everyone is given something to do, something which Twelve didn’t do so well. You do get a sense of glee watching the guys wreak havoc on Bank, via tricks and disguises, and hit him where is hurts, his money.  All of this fun and amusing antics are backed up by a sizzling score that reverberates with old-school swing and silky jazz riffs. The only real flaw in Thirteen is that it isn’t as good as Eleven, but has oodles of style and wit that put it very close to it and acres above Twelve.

The ensemble cast are clearly having a blast that radiates off the screen with energy and verve. George Clooney is on fine form as the urbane Danny, doing his own brand of justice and revenge with panache and humour. Backing him up is the charms of Brad Pitt as Rusty, who is one of the main brains in the plan to humiliate Bank for crossing the line with Reuben. Matt Damon shows a flair for comedic antics as Linus, who is finally given some credit that he’s fought for so long to get. Watching as he is disguised with a bulbous nose and Bond villain hair and having to woo the efficient Abigail is a real hoot and Damon sells it all the way with hilarious enthusiasm. Sporting a dodgy spray tan and larger than life ego, Al Pacino is at home essaying the persona of the arrogant and morally corrupt Willy Bank, who is going to be hit for all that he is worth by the suave crew. As the lone female in the movie, Ellen Barkin is hugely amusing as the perfectionist PA Abigail, who unwittingly helps the crew in their daring plan after being charmed by a disguised and pheromone infused Linus. Sporting ruthless and oily tics, Andy Garcia is deceptive as the former enemy brought in to help, who may or may not be trustworthy. Don Cheadle exudes an over zealous and flamboyant antics, while Elliott Gould puts his heart into Reuben, whose heart attack puts in motion the revenge for Bank. Casey Affleck and Scott Caan are wonderfully comical as the Malloy twins, particularly in their stint undercover at a Mexican plastics facility where they unintentionally cause the workers to rise up against woeful underpayment. Nervous energy comes courtesy of Eddie Jemison, while sophistication is given by veteran Carl Reiner and athletic prowess from the lithe Shaobo Qin. Out of all the cast, Bernie Mac is unfortunately not given a lot to do which is a shame as his character of Frank is usually a comic highlight and the fact that this was one of Mac’s last film roles before his early death.

So while the first Ocean’s is my favourite, Thirteen manages to capture some of the witty and flashy charm of it and more than make up for the debacle of Twelve. If it’s enjoyment you require, Ocean’s Thirteen more than does the job with sizzling sophistication and proves that thirteen isn’t always an unlucky number.

Ocean’s Twelve

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Catherine Zeta-Jones, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Twelve, Scott Caan, Shaobo Qin, Steven Soderbergh, Vincent Cassel

Film Title

Ocean’s Twelve

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Catherine Zeta-Jones as Isabel Lahiri
• Julia Roberts as Tess Ocean
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Vincent Cassel as Francois Toulour/ The Night Fox
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul  Bloom
• Elliott Gould as Reuben Tishkoff
• Shaobo Qin as Yen

As a follow-up to the successful Ocean’s Eleven, Twelve is still entertaining in its own way. It just happens to fall short by becoming overly complex and not using the ensemble cast as well as it could. It’s not a complete mess, but it could have been better.

Ever since pulling off their audacious major heist on casino owner Terry Benedict, Danny Ocean and the rest of his crew have been living apart and quietly with their takings. Unfortunately, this state of anonymous bliss is broken( which for smooth talking Danny has included reconciling with his wife Tess) when the angry and well-connected Benedict locates all of them and demands that they pay back the large sum they stole from him plus interest. Assembling the group, who are short of paying their halves of the money, they head to Amsterdam where they are told of a potential heist could take place. The crew has two weeks to repay the ruthless Terry or else things could be fatal for all involved. The hitch of the plan is that there is a gifted, arrogant cat burglar known as the Night Fox who beats them to it, forcing the crew to reconsider something else to steal. Striking an uneasy deal with the slimy Night Fox whose real name is Francois Toulour and a very rich man, the group plans to steal a Fabergé egg that should cover their debt to the vengeful Terry. Another obstacle comes in the shapely and sharp form of Isabel Lahiri, an extremely determined Europol detective who is put on the case and discovers that her former lover Rusty is part of the crew, causing various complications with putting the plan in motion and finally executing it. The question is will Danny and his cohorts be able to successfully do this heist and get the money before it is their necks on the chopping block?

A complex and labyrinthine plot is what makes Ocean’s Twelve a step down as it becomes overly clever and twists too much. And while Steven Soderbergh once again contributes his stylish sense of film making to the proceedings, he can’t make it flow together because of how convoluted the script becomes. Saying that, there are still some killer one-liners and hilarity, but in terms of pacing Twelve drags in comparison with its quick-footed predecessor. I have to compliment the visuals in Twelve which can’t be faulted and put the glamorous locales in glorious colours and mood, not to mention some slick costumes. There is something almost tired about Twelve, like because the first one did well they should make it a bit more complicated, yet this idea doesn’t work that well in theory. This is most apparent in the non-linear structure which works in the very beginning as the story is set up, but then descends into over confidence and confusion. And unlike the first movie that had quite a good bit of tension going on as the merry band of thieves were slipping past danger and averting trouble, Twelve is strangely devoid of the suspenseful heist we witnessed first time around. It is still an audacious heist that they must take part in, but the handling of it feels clumsy at best. A suitably cool score, accented with lively jazz and Rat Pack attitude at least gives Ocean’s Twelve hints of classy caper and adventure.

The starry cast is back with some new additions this time and while many are excellent, the way the script is done leaves many on the sidelines and doesn’t give some characters enough time to make an impression. As always, George Clooney is suave and devilish as main man Danny, who knows that the stakes are high in this heist and how the lives of everyone he cares about are on the line. The same goes for Brad Pitt as the lovable Rusty, whose relationship with Isabel begins to complicate matters that are already mounting. Matt Damon is a hoot as the overly eager and slightly naive Linus, who wants a central role this time and does show his skills to everyone when they get in a jam. Among the newer cast members, the beautiful Catherine Zeta-Jones makes the biggest splash as detective Isabel. Somewhat icy and passionate in her dedication, her resolve gets tested by former lover Rusty coming into the case. Jones makes Isabel a really intelligent character who shares many sparks with Pitt’s Rusty as she tries to anticipate what he and the gang are up to. Julia Roberts has a smaller role as Tess this time around, but has some real humour especially when she is drawn in to help by taking on a disguise that is knowing and a funny in-joke. The rest of supporting cast in Twelve, although talented are given less to do in terms of material, which is very unfortunate because they all added something to the past film with their individual idiosyncrasies and tics. It’s only really Vincent Cassel as the supremely arrogant Night Fox that makes any real impression on the story out of the underused supporting cast.

So while there is obvious style and camaraderie with members of the cast, Ocean’s Twelve falls more than a little flat despite potential.

Ocean’s Eleven

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Eleven, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Eleven

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Andy Garcia as Terry Benedict
• Julia Roberts as Tess Ocean
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Scott Caan as Turk Malloy
• Casey Affleck as Virgil Malloy
• Carl Reiner as Saul Bloom
• Elliott Gould as Reuben Tishkoff
• Eddie Jemison as Livingston Dell
• Shaobo Qin as Yen

A witty, breezy and thoroughly enjoyable caper movie, Ocean’s Eleven is a joy to watch and you’ll be sure as hell smiling by the end of it because of its charm. Loosely based on a 60’s Rat Pack movie, Eleven, as directed by the highly talented Steven Soderbergh mixes an old-fashioned glamour with a contemporary edge to craft a wholly amusing, well-crafted and undeniably slick heist flick.

Cool cat Danny Ocean is released from prison after serving time for theft. Being the suave man of action that he is, he has no desire to becoming a moral citizen. Instead, he has already formulated a crafty plan of his own and soon sets about assembling a team to help him with a heist. But this is no ordinary and simple heist, this is a complex maze that is highly dangerous. Danny wants to hit an underground vault that holds the money from three prominent casinos in Las Vegas, which is heavily guarded and nearly impossible to penetrate. With the help of best friend and card shark Rusty Ryan, the team is recruited for their various skills; Linus Caldwell is a somewhat naive thief who wants to be like his infamous parents, theatrical explosives expert Basher Tarr, inside man Frank Catton, the Malloy twins Turk and Virgil who are expert mechanics, aged but still hanging in there con man Saul Bloom, bankroll Reuben Tishkoff, neurotic technology wizard Livingston Dell and lithe Chinese gymnast Yen. Through careful studying, methodical planning and determination, the plan swings into motion and the stakes are indeed high with $150 million if they can accomplish the audacious heist. Making matters dangerous for the rag-tag group is the casino’s owner Terry Benedict who is a really dangerous guy. There is also the matter of Terry dating Danny’s ex-wife Tess, and Danny still obviously carrying a torch for her that could complicate everything. Can Danny and the rest of the team pull off possibly the most dangerous heist known to man?

Straight off the bat, Steven Soderbergh showcases his talent as a visual director. With stylized cuts as the heist is going on at various parts of the casino and the magic of the bright lights Las Vegas setting, Soderbergh’s direction exudes confidence and slick tactics. He crafts scenes of hilarity that are matched by nail-biting suspense as the plan is executed with danger at every turn for the misfit group. The pacing is stunningly executed and moves along at a briskly which takes you from the opening frame and pulls you into the caper of it all. And while the heist is a huge part of the film, the planning of it is just as much fun to watch, as it is seen from what the group wants to happen and then shown what does actually happen. A whip-smart script brims with amusing one-liners and banter between the characters, particularly Danny and Rusty who make a good double act during parts of Ocean’s Eleven. The script creates such likable characters in the main gang that you want them to succeed in this daring scam of theirs. And as I said earlier, the harking back to old-fashioned capers makes Ocean’s Eleven a cool and witty yarn that is impossible to resist. A smooth score of jazz is the perfect backdrop for the story as motives are planned and hiccups arise, challenging what could be a heist worth millions. To say this movie was enjoyable is to do it a disservice as it is a rollicking good time.

A huge draw for Ocean’s Eleven is the star-studded ensemble cast that have fun with their roles and each shine in their own way, particularly the main team who have superb chemistry with one another. Heading the way is the debonair performance from George Clooney who is the personification of charm and style. With a glint in his eye, suave delivery of lines and a fox-like smile, Clooney is clearly having a blast as the mastermind behind the heist and is perfectly cast in the part. On equally slick form is Brad Pitt, who offers irresistible wit and smarts as card shark Rusty who is the second in command. Matt Damon plays the role of thief Linus very well, constantly capturing his eagerness to prove himself and make the audience relate to him. Andy Garcia nails the part of the slimy and very dangerous Terry, who becomes increasingly angered as he realises that his casino and money is being targeted. Julia Roberts as the main woman in the film shows that it isn’t just the boys having fun, as she plays the suspicious and glamorous Tess, who can’t deny that she is in love with Danny despite the pain he’s caused her. Despite the dodgy attempt at a cockney accent, Don Cheadle is a hoot as the sometimes crazy Basher who specialises in explosive devices and is prone to exaggeration, while Bernie Mac is a blast as the inside man on the case. Scott Caan and Casey Affleck have fun portraying the Malloy twins, who are in almost constant arguments and scrapes with one another. Carl Reiner as the still determined but aging con man and Elliott Gould as the financier of the mission both provide their sterling credentials to Ocean’s Eleven. As computer whiz and panicky guy Livingston, humour comes from Eddie Jemison and then there is the acrobatic frame and grace provided by Shaobo Qin as the flexible Yen.

Executed with wit and vigour, Ocean’s Eleven is engaging from start to finish due to awesome direction, humorous script and cool work from the cast.

 

Traffic

Tags

2000's, Benicio Del Toro, Catherine Zeta-Jones, Crime, Don Cheadle, Drama, Michael Douglas, Steven Soderbergh, Traffic

Film Title

Traffic

Director

Steven Soderbergh

Starring:

• Michael Douglas as Robert Wakefield
• Don Cheadle as Montel Gordon
• Benicio Del Toro as Javier Rodriguez
• Catherine Zeta-Jones as Helena Ayala
• Luis Guzman as Ray Castro
• Steven Bauer as Carlos Ayala
• Erika Christensen as Caroline Wakefield
• Miguel Ferrer as Eduardo Ruiz

Traffic is Steven Soderergh’s gritty, up close and personal look at drugs from various perspectives. Boasting an excellent cast and kinetic camerawork that gives it a feeling of a documentary, it is a kaleidoscopic look at the effects of the drug trade on different people and the consequences and situations that occur because of them.

Robert Wakefield is a judge who is appointed the high-ranking job of drugs czar, in an effort to combat the drug war that is raging. As he begins to question his new job, he becomes aware of his daughter Caroline’s serious drug problem and finds that drugs lie closer to home than he thinks. He tries everything he can to convince his daughter to give up, but the situation becomes harder and harder the more he tries and his daughter refuses help.  Meanwhile in Mexico, a cop named Javier is trying also to counteract the ever-growing drug trade and supply, whilst trying to remain honest in a world where everything around him is corrupted. A further story set in San Diego concerns Montel and Ray, two undercover DEA agents attempting to bring down drug baron Carlos Ayala. After pressuring one of his friends who is on Carlos’ illegal activities, Carlos is arrested and brought to trial. His pregnant socialite wife Helena, who is at first oblivious to her husband’s job, finds out for herself. Rather than live without him and desperate, she takes matters into her own hands and goes to extreme measures as a way to free her husband.

The first thing that struck me about Traffic was the exceptional camerawork and lighting used. In order to distinguish each story, a certain colour or filter plays a pivotal part. In Robert’s story, blue is heavily used to symbolise his desperation at his daughter’s habits.  Javier’s story is filmed with a blinding glow, counteracting with the corruption he witnesses on a daily basis. Helena’s story is filmed with a gold hue to show how naive she has been towards he husband’s dealings. All of this gives the audience a subtle insight into the character’s minds and how they respond to the presence of drugs in their lives. The use of a handheld camera further reiterates the struggles and conflict each character experiences, catching them off guard and examining with an almost forensic detail the various ways drugs have infiltrated their lifestyles.

The acting in the film from the ensemble cast is outstanding, especially from Douglas, Zeta-Jones and an Oscar-winning Del Toro. Michael Douglas shows the confusion of whether to concentrate on his job or help his addicted daughter from slipping any further. Catherine Zeta-Jones excels at showing Helena’s naivety in the beginning and then her gradual emergence as a scheming woman, galvanized into desperate action to clear her spouse’s name whatever the cost. Benicio Del Toro is the standout performer in Traffic, subtly portraying a man trying to remain honest but struggling when in the face of danger. In this way, he becomes the film’s heart, exuding a quiet intensity as we watch him being torn between his morals and the temptation to commit violent acts.

Steven Soderbergh has created an exceptional look at a difficult subject, without becoming preachy or cliché. Traffic is a haunting, intense and personal look at the connections of drugs and society. If you haven’t viewed Traffic, I would definitely recommend it to you.