Changing Lanes will not make cinematic history. But it is brisk, sometimes enjoyable and delivers an entertaining 90 minutes.
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
You've probably had the experience of reading a book nobody likes but that turns out to be interesting to talk about. The movie, Changing Lanes, is like that.
When so many Hollywood films actively discourage higher brain functions, you have to give Changing Lanes credit for giving you food for thought.
Roger Michell, who did an appealing job directing Persuasion and Notting Hill in England, gets too artsy in his American debut.
A film that dares to probe, intelligently, into some of those most essential, difficult American issues: race and class.
Even if the ride's a little bumpy, with a final lap that's all too suspiciously smooth, you gotta give director Roger Michell, best known for the superfluous Notting Hill, credit for trying.
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.
A teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting, less symmetrical, less obviously cross-shaped creation.
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" does hit a few minor potholes along the way, but it's a pleasure to experience Hollywood come off of cruise control.
Despite slick production values and director Roger Michell's tick-tock pacing, the final effect is like having two guys yelling in your face for two hours.
A thought-provoking, sophisticated drama that explores the motivations behind our split second decision-making and the consequences that result.
A whip-smart thriller that begs comparison to the gritty mood pieces of the 1970s.
Good theme, good sound effects, slightly above average film that stumbles on the opportunity to be something very fine.
An ethical thriller about two men whose biggest enemy is not each other, but their unwillingness to take responsibility for their own actions.
A rare example of studio filmmaking evocatively concerned with the nature of morality.
A provocative and engaging morality tale of the sort we're not accustomed to seeing at the local multiplex.
The director pulls it off but is constantly right on the ragged edge of losing his audience.
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