"I did think Benito Del Toro exuded himself pretty well."
I liked him too, I just wish the whole movie had centered around his charactor.
"in the end with all the various power brokers essentially self-consumed and ineffectual, some kids got a ball park--that's as good an expression of hope as any I've seen."
I liked the ball park too.
So much hokeyness(answering Mike here) I found the innocent wife of the drug kingpin
suddenly becoming a ruthless kingpin herself pretty hard to swallow
And Michael Douglass's daughter becoming a down and out
junkie and (gasp)sleeping with a black man.
That's where dope'll getcha.
And Michael Douglas becoming a vigilante, taking the law into his own hands to save her, why didn't he just call the cops?
and the poison breakfast scene was not real--they(cops) would allways send one of thier own out for breakfast
Plus, Soderberg is arty as hell. I find his use of alternating film stocks irritating. Oliver Stone started this trend, and now everyone's doing it.
Did anyone else find the use of the piss-yellow, grainy stock for the "Mexico" scenes to be subtly racist/colonial? Imagine if it was inverted--if the Mexico footage was shot clear and bright and then every time he cut to Washington DC you were suddenly in a blurry miasma. (Might be more interesting, actually.)
Also, I found it ridiculously coincidental that Catherine Zeta-Jones would call Frankie Flores to do the hit, and even more ridiculous that he would accept the job from her. The last time we saw him he was a broken, weeping wreck. "Another job? Sure, I don't know you, but I'm your man!" Yeah, right.
For these and the reasons you guys mentioned (sleeping with a black man? gasp), I hated Traffic. What a phony crock!
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I liked him too, I just wish the whole movie had centered around his charactor.
"in the end with all the various power brokers essentially self-consumed and ineffectual, some kids got a ball park--that's as good an expression of hope as any I've seen."
I liked the ball park too.
So much hokeyness(answering Mike here) I found the innocent wife of the drug kingpin
suddenly becoming a ruthless kingpin herself pretty hard to swallow
And Michael Douglass's daughter becoming a down and out
junkie and (gasp)sleeping with a black man.
That's where dope'll getcha.
And Michael Douglas becoming a vigilante, taking the law into his own hands to save her, why didn't he just call the cops?
- steve 3-01-2001 8:30 am
and the poison breakfast scene was not real--they(cops) would allways send one of thier own out for breakfast
- Skinny 3-01-2001 3:37 pm [add a comment]
Plus, Soderberg is arty as hell. I find his use of alternating film stocks irritating. Oliver Stone started this trend, and now everyone's doing it. Did anyone else find the use of the piss-yellow, grainy stock for the "Mexico" scenes to be subtly racist/colonial? Imagine if it was inverted--if the Mexico footage was shot clear and bright and then every time he cut to Washington DC you were suddenly in a blurry miasma. (Might be more interesting, actually.) Also, I found it ridiculously coincidental that Catherine Zeta-Jones would call Frankie Flores to do the hit, and even more ridiculous that he would accept the job from her. The last time we saw him he was a broken, weeping wreck. "Another job? Sure, I don't know you, but I'm your man!" Yeah, right. For these and the reasons you guys mentioned (sleeping with a black man? gasp), I hated Traffic. What a phony crock!
- Tom Moody 3-01-2001 8:06 pm [add a comment]
frankie's name was in the painting that czj's husband told her to "look into"...that's how she got hooked up with him.
- linda 3-01-2001 9:34 pm [add a comment]