At its best, watching Changing Lanes is like watching controlled madness.
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
Where Changing Lanes comes up short is the writing. A trio of scenarists are credited, and they can't pin down a tone or focus or moral for the story, even as they gamely steer it away from the predictable.
Engaging, in a coldly intellectually fashion, but depressing sociologically, emotionally.
The story begged for a darker, more biting resolution, but that might have been deemed too bleak for a movie that is almost entirely bile.
The central and supporting performances are what make Changing Lines so compelling.
One of those rare films that come by once in a while with flawless amounts of acting, direction, story and pace.
Directed with purpose and finesse by England's Roger Mitchell, who handily makes the move from pleasing, relatively lightweight commercial fare such as Notting Hill to commercial fare with real thematic heft.
Despite some serious script problems, the film works, which may have as much to do with the timeliness of the subject matter -- the forgotten art of common courtesy -- as the skill of the director and the efforts of a good cast.
As a meditation on the way sadistic impulses can destroy men, Changing Lanes sails onto the open road and away from the traffic jams.
Changing Lanes is primarily Jackson's movie, a treatise on racial tension that is seldom black-and-white.
Banek is one of the more complex characters Affleck has attempted, but the performance comes off flat and uninvolving.
Blows a tire and careens off the road of sensibility before it reaches its final destination.
Definitely erratic, this thing -- all in all, it's the sort of commercial vehicle you might want to stay well back of.
It is plainly less interested in particular characters (their trajectories are pretty corny, in the end) than the abstract concepts they embody.
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