Inside the film’s conflict-powered plot there is a decent moral trying to get out, but it’s not that, it’s the tension that keeps you in your seat. Affleck and Jackson are good sparring partners.
Changing Lanes (2002)
Tomatometer
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Reviews Counted:142
Fresh:110
Rotten:32
Average Rating:7/10
Consensus: A dark, compelling drama featuring Jackson's best performance in years.
Runtime: 1 hr 39 mins
Genre: Dramas
US Box Office: $66,650,688
Synopsis: Two cars collide on the FDR expressway. Their drivers--two seemingly opposite men--are Gavin Banek (Ben Affleck), a young white partner in a powerful law firm, and Doyle Gipson (Samuel L. Jackson),... Two cars collide on the FDR expressway. Their drivers--two seemingly opposite men--are Gavin Banek (Ben Affleck), a young white partner in a powerful law firm, and Doyle Gipson (Samuel L. Jackson), a meek, working-class black man. At the scene of this fender bender, Gavin, who is busy trying to make a business appointment on his cell phone, offers Doyle a blank check to cover damages. Doyle, wanting to properly exchange information, declines, causing Gavin to flee the accident site. In his haste, Gavin leaves behind an important legal file which Doyle uses to his advantage, setting off a brutal cycle of revenge between these two men who began this Good Friday as strangers. A class commentary that is decidedly different from director Roger Michell's previous film, NOTTING HILL, CHANGING LANES provides very little information about its two central characters before the moment of their car accident. Michell introduces them by crosscutting between both men speaking publicly--Gavin is lecturing to a charitable foundation, Doyle is talking at an AA meeting. These techniques of crosscutting and mirror imaging are used effectively throughout the film to underscore that the obvious social and economic differences between the two men doesn't disguise the dark and angry nature that exists in both of these men, and potentially in all of humanity. [More]
Starring: Ben Affleck, Samuel L. Jackson, Toni Collette, William Hurt
Starring: Ben Affleck, Samuel L. Jackson, Toni Collette, William Hurt, Amanda Peet, Sydney Pollack, Bradley Cooper, Jennie Dundas, Richard Jenkins, Dylan Baker
Director: Roger Michell
Director: Roger Michell
Screenwriter: Michael Tolkin, Chap Taylor
Producer: Scott Rudin
Composer: David Arnold
Studio: Paramount Pictures
Reviews for Changing Lanes
Engaging, in a coldly intellectually fashion, but depressing sociologically, emotionally.
The movie challenges traditional notions of entertainment. It lasts a little more than 1½ hours but puts you through such an emotional wringer that it feels much longer.
Good theme, good sound effects, slightly above average film that stumbles on the opportunity to be something very fine.
By the time the dual dilemmas are neatly resolved in a contrived ending that clumsily invalidates its cynical view of American life, the movie just seems like one more Hollywood cop-out, and a waste of our original emotional investment.
A whip-smart thriller that begs comparison to the gritty mood pieces of the 1970s.
'Si el filme hubiera terminado 10 o 15 minutos antes, hubiera sido una dura crítica a la amoral y desquiciante sociedad, pero solamente se queda en un buen filme, entretenido y bien actuado.'
It has all the right ingredients (but) 60 percent of the movie is spent trying to make a rich, lying, conniving, completely unprincipled Manhattan lawyer seem sympathetic.
Changing Lanes never stops moving. But sometimes it heads in the wrong direction.
Helps us see that "the place of the squeeze" (as Buddhist Pema Chodron calls situations involving obstacles) is a reset button that can propel us to transformation.
A surprisingly acid-tongued character study that has a good deal more on its mind than cheap thrills.
Changing Lanes -- despite some solid acting and cinematography -- mistakenly turns what should have been a fast-paced thriller into a cerebral sermon about the slippery slope of corporate law.
A pretty good film in spite of the fact that it has a few too many coincidences for its own good and its characters make several nonsensical decisions.
A story and character-driven reminder of the classic paranoia cinema of Arthur Penn and Alan Pakula; if only it ultimately displayed the courage of the same.
Illustrates how easy and tempting it is to take the path of petty revenge, and, conversely, how difficult it is to choose to do the right thing.
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