Review: Changing Lanes (2002)
Steve Rhodes
A film review by Steve Rhodes
Copyright 2002 Steve Rhodes
RATING (0 TO ****): ***
In CHANGING LANES, by NOTTING HILL's director Roger Michell, high priced lawyer
Gavin Banek (Ben Affleck) is having a bad day, a really bad day. If he doesn't
recover a key file that he lost, he may have to trade his marble and glass
office in for a prison cell.
Doyle Gibson (Samuel L. Jackson), a poor everyman who works as an insurance
telemarketer when he's not attending AA meetings, is having just as bad a day.
Because he was twenty minutes late to court, he lost custody of his children who
are about to be relocated 3,000 miles away.
The men owe their problems to a traffic accident that they had together. This
one-day-in-life-of story of these two men concerns the revenge, remorse and
guilt they have as they battle each other as punishment for the other's sins.
At once different and alike, their conflict is much slower paced and cerebral
that the plot would lead you to suspect. The director manages to make an hour
and a half feel like two, which would be a real problem with lesser material and
still is sometimes in CHANGING LANES. The director pulls it off but is
constantly right on the ragged edge of losing his audience.
Although Affleck and Jackson both deliver strong pieces of work, the supporting
cast proves to be the film's hidden treasure. Toni Collette plays Gavin's
insightful and supportive fellow lawyer and ex-lover. Sydney Pollack plays
Gavin's boss, father-in-law and friend, who may have some skeletons in his
closet. Playing against her usual type, Amanda Peet is Gavin's
all-too-practical wife. Dylan Baker is deliciously sinister as a hacker for
hire who is more than willing to destroy someone's life for the right fee. And
William Hurt, as Doyle's AA sponsor, wisely understands that there's more to
life than just avoiding booze.
In a story that looks like it will fall apart completely at the end -- "So now
what?" as Doyle puts it -- writers Chap Taylor and Michael Tolkin manage to find
a way to tie things up without insulting the viewers' intelligence.
I forgot. Did I mention the day that the story takes place? Good Friday, which
proves to have more connotations than just the ironic.
CHANGING LANES runs 1:35. It is rated R for "language" and would be acceptable
for teenagers.
My son Jeffrey, almost 13, gave it only one *, complaining that it was way, way
too slow. He didn't care about any of the characters, and he thought that the
story just didn't work.
The film opens nationwide in the United States on Friday, April 12, 2002. In
the Silicon Valley, it will be showing at the AMC and the Century theaters.
Web: http://www.InternetReviews.com
Email: Steve....@InternetReviews.com
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Harvey S. Karten
Rating out of 4 stars: 3.5
Reviewed by Harvey Karten
Paramount Pictures
Director: Roger Michell
Writer: Chap Taylor, Michael Tolkin, story by Chap Taylor
Cast:Ben Affleck, Samuel L. Jackson, Toni Collette, Sydney
Pollack, William Hurt, Amanda Peet
Screened at: Loews Lincoln Square, NYC, 4/9/02
While called to an emergency luncheon by his own wife
Cynthia (Amanda Peet), Gavin Banek (Ben Affleck) gets the
word from Cynthia that she knew all about her husband's
dalliance with a co-worker (Toni Collette) but was willing to live
with that because she loves him. She also shows herself to be
as bourgeois as her parents, (Sydney Pollack and Tina Sloan)
by impressing on him the detail that she married him largely
because he was an upcoming, Wall Street attorney. "I could
have married a professor of Middle English at Princeton
University, if he had tenure," she cautions, and without her or
possibly scripters Chap Taylor and Michael Tolkin's realizing, by
citing Middle English she announces the theme of the film.
"Changing Lanes" reads like a medieval morality tale,
"Everyman," for example, the story of people each of whom
represents a moral aspect. But while "Everyman" would be a
crashing bore for a modern audience, director Roger Michell
avoids casting his performers as people with labels on their
chests such as "true justice," or "reforming alcoholic" or "shyster
lawyer" or "wandering husband." Each of Michell's characters,
in fact, represents a complexity of traits, each aspect making
war on the others within the individual's own head. Ultimately
there are no good guys and bad guys, but people just like
us...somewhat flawed but in the end proving that they, like the
rest of us, are hard-wired for doing the right thing, for changing
the lanes of their lives.
The movie has its share of action as well, nothing gratuitous
this time. To the credit of a big budget film studio, here is an
intelligent, complex, credibly acted and ethically grounded work
of the sort we're more likely to find at the art houses around the
country rather than at the local mutiplexes. As editor
Christopher Tellefson edits with a strong hand, cutting
frequently from one principal character to the other to show the
ways their lives both mesh and diverge, we're treated to a
thinking person's movie that will not have the audience leaving
the theater discussing nothing more important than where
they're going to eat.
An auto accident brings together people who would usually
be from different worlds. Attorney Gavin Banek collides with
insurance agent Doyle Gipson (Samuel L. Jackson) on New
York's FDR Drive. Both are in a hurry for important meetings.
Gavin must be in court in minutes to present a probate judge
with documents that will confirm the legitimacy of a trusteeship
won by his law firm. Doyle similarly has an appointment in court
to win custody or at least strong visitation rights to see his two
children, a demand that his estranged wife, Valerie (Kim
Staunton), contests. In fact she is moving clear across the
country to Portland to be far from her husband and perhaps to
meet another man whose behavior would be more stable than
that of a recovering alcoholic with a mean temper. When Gavin
simply hands Doyle a blank check to fix his car, stating to a
stunned Doyle that he's in a hurry and has no time to exchange
papers, he accidentally leaves an important court file with Doyle,
one whose recovery will determine the outcome of a probate
case involving millions.
Though both men would do the right thing under other
circumstances, wires get crossed. Doyle refuses to return the
file and Gavin takes illegal steps to mess up Doyle's life pending
the return of the document.
The plot itself, then, is not unduly complex. There is some
physical violence, as when Doyle insults and then punches out
two guys in a bar, but most of the conflicts are psychological
ones which in this case are more anxiety-producing that a car
crash at twenty miles per hour or a couple of punches to the
face would evoke.
As Gavin, recently made a partner in the law firm of his father-
in-law, discusses his problems with the older man, we are led
into an ever-widening intrigue that makes us question whether
hotshot lawyers are even more corrupt than we have always
thought they were; whether most rich people gained their money
by dishonesty somewhere along the line; whether pure idealism
is preferable to, or even possible in, this imperfect world. The
only people in the story who believe in some utopian life that
The Law would manage to give us are a couple of scrubbed
seniors in law school, whose visions are so lofty that they
provide comic relief in a story that features two strong-willed
people battling each other without resort to fists. Director Roger
Michell, known principally for the film "Notting Hill," scores by
eliciting sincerely felt performances from both principals and
supporting players. He has the audience debating Stephen
Delano's summing up of his profession: "At the end of the day, I
do more good than harm. What other standard have I got?" Do
you agree that this is all that the good life demands of you?
Rated R. Running time: 106 minutes. (C) 2002 by
Harvey Karten, film_...@compuserve.com
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David Levine
A film review by David Levine
Copyright 2002 filmcritic.com
After watching the trailer for Changing Lanes, I expected a film similar to
Steven Spielberg’s road rage drama Duel, where a hatchback and a semi do battle.
While Changing Lanes is definitely a clash between two men, much to my
surprise, it reaches a deeper and more satisfying level. Changing Lanes is a
thought-provoking, sophisticated drama that explores the motivations behind our
split second decision-making and the consequences that result.
Ben Affleck is Gavin Banek, a young Wall Street attorney on the fast track to
becoming partner at his father-in-law’s well-respected law firm. His on-the-go
lifestyle takes him from the office to the courthouse, then on to charity events
and back to the office for interviews and meetings. Samuel L. Jackson is Doyle
Gibson, an insurance agent and recovering alcoholic engaged in a custody battle
with his wife for their two young boys. He has just qualified for a new house
and is trying to get back on his feet again.
The worlds of these two men suddenly collide during the morning rush hour on New
York’s crowded FDR Drive as they head to respective court appearances. Gavin
feels his time is much too important to exchange information, so he hastily
scribbles out a blank check to Doyle for the damages. Gavin quickly flees the
scene, leaving Doyle stranded in the rain with nowhere to go.
But Doyle loses his custody rights as a result of his tardiness to court.
Gavin’s case is postponed until he regains a file he left behind at the accident
scene. Doyle now possesses the file. With his career and the fate of the law
firm on the line, Gavin takes extreme measures against Doyle to pressure him
into returning the file. Equally frustrated by his own circumstances, Doyle
refuses to return the file and instead, counters Gavin’s aggression with equally
damaging results.
Director Roger Michell (Notting Hill) does a fine job establishing each
character during the film’s opening sequence. Despite coming from two seemingly
different worlds, the lives of both men are ruled by a similar chaos. Gavin
speaks to a gathering of children at an upscale fundraiser while Doyle attends
an AA meeting in a dank, overpopulated room. The film alternates between the
two men with the audio from each man’s world intersecting the other. Michell
uses this editing technique to foreshadow their eventual encounter on the
highway. This same production design is used with great effectiveness
throughout the film to reinforce the parallel struggles exacerbated by the
choices both men make.
Changing Lanes focuses on the ethical decisions these characters make and the
consequences their actions have on those around them. While Gavin chooses to
make life miserable for Doyle, those at his law firm deal with the situation in
a way that has a greater moral impact on Gavin and his family. Once Gavin
recognizes how his actions have also negatively impacted Doyle’s wife and kids,
he feels the need to help rectify the wrongs he has made. The same thing
happens with Doyle. After his dealings land him in jail, further complicating
his troubled relationship with his family, Doyle’s AA sponsor (William Hurt)
helps him realize his true addiction is to chaos, not alcohol. He chooses to
confront his hostility rather than fighting it and returns the file to Gavin.
The movie stays in the fast lane with compelling performances by a stellar
ensemble cast. Affleck is convincing as the selfish young man desperate to make
whatever choices will keep his career moving upward. As a father in crisis
struggling to stay clean of alcohol and bring his family together, we easily
identify with Jackson’s Doyle. In a supporting role, Sydney Pollack is ruthless
as Gavin’s boss and Kim Staunton is equally solid playing Doyle’s wife.
Changing Lanes is much larger than its unfortunate trailer. The film is simple
in its approach yet is highly complex and provocative with the handling of the
ethical consequences facing its characters. Even though Changing Lanes finishes
a little too polished, the ending is fully justifiable within the context of the
characters’ actions and their revelations. We leave the theater pondering what
will happen next
It's easily the best mainstream movie this year.
RATING: ****1/2
[* = lowest rating / ***** = highest rating]
MPAA Rating: R
Director: Roger Michell
Producer: Scott Rudin
Writer: Chap Taylor, Michael Tolkin
Starring: Samuel L Jackson, Ben Affleck, Toni Collette, Sydney Pollack, William
Hurt, Amanda Peet
---
filmcritic.com / http://filmcritic.com
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Edward Johnson-Ott
Ben Affleck, Samuel L. Jackson, Kim Staunton, Toni Collette, Sydney
Pollack, Tina Sloan, Richard Jenkins, Matt Malloy. Music by David
Arnold. Screenplay by Chap Taylor, Michael Tolkin; Story by Taylor.
Directed by Roger Michell. 99 minutes.
Rated R
Review by Ed Johnson-Ott, NUVO Newsweekly http://www.nuvo.net
E-mail: ejohn...@prodigy.net Archive reviews at
http://reviews.imdb.com/ReviewsBy?Edward+Johnson-Ott
To receive e-mail reviews, write ejohnsonot...@yahoogroups.com
with the word "subscribe" in the subject line.
"Changing Lanes" is a rarity: a major studio release with a brain, an
ethical thriller about two men whose biggest enemy is not each other,
but their unwillingness to take responsibility for their own actions.
Despite a few problem areas, the richly textured, well-acted production
is one of the few rewarding mainstream films to hit theaters so far this
year.
It starts during morning rush hour in New York City, when Wall Street
lawyer Gavin Banek (Ben Affleck) and insurance agent Doyle Gipson
(Samuel L. Jackson) have a minor traffic accident. After each man
assures that the other is uninjured, Doyle tries to exchange insurance
information, but Gavin, who is due in court, tries to speed things up by
offering a blank check instead. When Doyle, a recovering alcoholic
determined to do things by the book, refuses the offer, Gavin decides to
split. Doyle asks for a ride, but Gavin speeds away, shouting "Better
luck next time" as he leaves the man standing by a car with a flat tire.
Although neither man knows it, they are both headed for the same
building. And what Gavin doesn't realize is that, in his haste, he left
a very important folder behind with the man he just screwed.
The ramifications of the fender-bender are quickly felt. Gavin shows up
in front of a judge minus the only papers that will back up his
company's claim to the estate of a multi-millionaire. He tries to bluff
his way out, but only succeeds in putting himself in legal jeopardy.
Meanwhile, Doyle arrives 20 minutes late for a custody hearing and, as a
result, must listen as the judge grants his estranged wife permission to
move to the other side of the country with his two boys.
Both men are devastated and react in anger. After a phone exchange
between the two dissolves into shouting, Gavin strikes first, getting
the name of a man who "fixes things" from Michelle (Toni Collette), a
co-worker and former mistress. After hacking vital information about
Doyle and preparing to ruin his finances with one keystroke, the fixer
(Dylan Baker) turns to Gavin and says, "Is there any other way?" When
Gavin wonders if any other option exists, he is told, "Sure. Just call
him up and be nice to him." Barely missing a beat, Gavin fixes his eyes
on the keyboard and says, "Do it."
And so the war begins.
What makes the film so fascinating is that the only way either man can
triumph is to recognize his destructive behavior, take responsibility
for his actions and begin to act reasonably. As the retaliatory strikes
escalate, you begin to wonder if either Gavin or Doyle is capable of
such an epiphany.
Working from a screenplay by Chap Taylor and Michael Tolkin, director
Roger Michell slowly, steadily ratchets up the tension level. Instead of
using the traditional whack-you-over-the-head approach, he employs
subtle sound cues and refreshing washes of subdued natural lighting.
Along the way, more and more is revealed about the character of each
man.
Gavin has been so busy pursuing the next brass ring that he never gave a
second thought to ethics. When reminded by his cynical wife (Amanda
Peet) that lawyers at his station spend virtually all their time looking
for ways to cheat, he seems genuinely surprised. Doyle is also lost,
believing that abstinence from drinking equals recovery. At one point,
his frustrated AA sponsor (William Hurt) shouts that his addiction is
not to alcohol, but to chaos.
None of this could work without exceptional acting and every performance
in "Changing Lanes" is top notch. Samuel L. Jackson, a master of
expressing rage, balances the explosive nature of his character with
welcome nuance. He hits all the right notes here. Ben Affleck is just as
good. After appearing in so many comedies and big budget popcorn flicks,
it's easy to forget just how talented an actor he is, but he offers a
fine reminder with a wonderfully measured turn as the desperate
attorney.
William Hurt makes the most of his brief time onscreen, exhibiting none
of the glibness that periodically taints his work. Playing Doyle's
estranged wife, Kim Staunton adroitly shades her character, making her
more than just another wronged woman. As Gavin's ex-girlfriend and
current wife respectively, Toni Collette and Amanda Peet are equally
impressive. To no surprise, Dylan Baker is excellent, and check out
Sydney Pollack as Gavin's boss – his creates the consummate corporate
shark without ever getting cartoonish.
At times, "Changing Lanes" pushes the edges of credibility. Gavin's
blank check approach to the car wreck, while obviously necessary to
propel the story, still seems an odd thing for a lawyer to do. As for
the law firm that employs him, security seems to be nonexistent at
several key plot points. Finally, without giving anything away, the
wrap-up of the story is a bit too pat for my tastes. Regardless,
"Changing Lanes" is superior fare. Hopefully, it will draw the audience
it deserves.
© 2002 Ed Johnson-Ott
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Laura Clifford
--------------
Gavin Banek (Ben Affleck) is in self-denial about the legality of his attempt
to take over a deceased millionaire's charity trust for the father-in-law who
just made him a law firm partner. Doyle Gipson (Samuel L. Jackson) believes
his faithful AA meeting attendance and a mortgage approval on his first house
should convince his wife from moving to Portland with his two sons. Their
lives will become as locked as their fenders as they both rush to urgent
appointments in "Changing Lanes."
This smarter-than-average screenplay by Chap Taylor and Michael Tolkin
("The Player," "The New Age") is a cat and mouse game on the surface but
is loaded with subtext about compromising ethics. Star Affleck hasn't
been in such strong form since supporting buddy Damon in "Good Will Hunting."
When Banek and Gipson collide on the FDR, Gipson wants to proceed by the book,
but hot shot Banek's in such a hurry, he offers a blank check instead.
Gipson refuses and asks for a lift, but Banek strands him retorting 'Better
luck next time.' His words will come back to haunt him.
Arriving in court, Banek discovers he mistakenly handed an all important
file to Gipson and he didn't even get the guy's name. Meanwhile Gipson
arrives late at a custody hearing and loses a chance to regain his family.
In despair, he throws his papers, including Banek's file, into the trash
and heads to the nearest bar, but resists the bourbon he orders. Once
he discovers how much the file means to Banek, he retrieves it and faxes
a page to Banek with 'Better luck next time' emblazoned across the sheet.
Each man's action makes the other guy go farther than he ever thought possible
until the situation's completely out of control. This horrible day will
force Gavin and Doyle to take a good hard look at themselves and face
some ugly truths.
The screenplay gives each man a conscience personified. Toni Collette
("Shaft") is Michelle, Gavin's colleague and former mistress, who's
watched him leap into the abyss by marrying into the money that provides.
their livelihoods. While Michelle tries to pull Gavin from the brink, his
wife Cynthia (Amanda Peet, "Saving Silverman") lays out the truth of their
marriage and the necessity of forging the document he lost to keep it viable.
Gipson's got his AA sponsor (William Hurt) who encourages the man until even
he must state what Valerie Gipson (Kim Staunton, "Dragonfly") has discovered
painfully - that Gipson's addicted to chaos. It's a nice piece of symmetry
that each man's sounding board is also emblematic of his moral weakness.
Director Roger Michell ("Notting Hill") gets fine performances from his
leads on down to minor players. Affleck is perfectly cast as a successful,
shallow shark, but shows his chops when he faces his inner conflict. He's
terrific in an ironic scene late in the film interviewing a fresh-eyed idealist.
Jackson shows a nice range from humbled and prideful of new home ownership
to enraged and ferociously paternal. His character is reminiscent of
Michael Douglas in "Falling Down." Sydney Pollack ("Eyes Wide Shut")
is on target as the elder rationalizer who's bred an equally entitled
daughter (Peet, also up to the task).
Cinematography by "Any Given Sunday" lenser Salvatore Tontino has the
in-your-face franticness of the Stone film. Extensive use of glass
effectively provides mirrors for the protagonists to view themselves.
Editing by Christopher Tellefsen ("Man on the Moon") is succinct, allowing
the audience to make leaps on their own. David Arnold's score maintains
tension with ominous rumblings.
"Changing Lanes" does hit a few minor potholes along the way, but it's a
pleasure to experience Hollywood come off of cruise control.
B
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JoBlo
RATING: 8/10
http://www.joblo.com/changinglanes.htm
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PLOT:
A Wall Street lawyer, on his way to an extremely important court case, gets into
a fender-bender with a less privileged individual, who is also on his way to a
courthouse to fight for the right to see his kids, and leaves him standing by
the side of the highway. Unfortunately for the lawyer man, he leaves an
extremely important file by the road as well, which is intuitively picked up by
the down-and-out gentleman. That event leads to a very long day for both men,
with many back-and-forths and not much agreement on anything.
CRITIQUE:
Yay! Finally, a good, solid thriller to deflect the crappy path which most of
this year's movies had been taking. And just so you know, this isn't a "road
rage" flick for the pre-teens, it's a picture filled with many tense moments,
two great stories, a rapid pace, intelligence, a moral message and the
charismatic stylings of Sam Jackson and Ben Affleck. A movie that kept me
watching the whole way through, cringing in my seat during certain scenes,
chuckling in others, but mostly, engaged to see how it would all turn out. And
how did it turn out? Well, I definitely won't be giving anything up here, but it
goes without saying that I appreciated the way the movie actually brought a
greater scope of morality over the entire day's events, rather than just pitting
two angry men against one another. This film is about decisions in one's life.
It's about the big picture, and how the little details can greatly affect that
big picture if you're not paying close enough attention. It's about living a
good life, but recognizing that bad days will occur and knowing how to deal with
them. It's about human beings, and the connections between them. And even more
so, it's about understanding. It's always easier to brush someone off as an
"asshole" when you don't know where they've been or where they're coming from,
but in most cases, they have valid excuses for doing what they do. In the
fast-paced world that we live in today, we sometimes forget to listen, or
connect, or even try to understand where others are coming from. Of course, we
can't sit and have tea with every Joe that we run into, but human decency,
common sense and a deeper connection to your fellow man, can do the trick most
times. Alright, I'm now gonna descend off my existential "high horse" and give
you my thoughts on the basic ingredients of the film as well.
What I like about movies like this (which is basically a combination of TIN MEN
and FALLING DOWN times twelve!) is that, if done right, the audience really
connects to the people within. They understand where they're coming from, and
they too, appreciate many of their very same frustrations. In this case, both
the script and the actors come off as entirely believable and it isn't long
before you're rooting for...well, both guys actually! And that's another thing,
much like in CRIMSON TIDE, in which both of the lead characters had opposing
points of view, each of which seemed valid, this film pits two people going
through their own separate issues up against one another, and it isn't long
before tit leads to tat, and you can't really define the line between who's
"right" and who's "wrong" anymore. Credit goes to director Roger Michell for
creating a frantic atmosphere as well, with plenty of camera movements (although
I did get a little sea-sick at one point) and close-ups to accentuate the
characters' burgeoning aggravation. And then you've got the two lead actors. Ben
Affleck, who I've personally enjoyed in most films, comes through as a man who
is suddenly faced with a major life decision, while at the same time, dealing
with this "nut" who is toying with him. He does his usual "Affleck" here, but
there's a lot more to him in the movie as well, and I'm happy to report that
much of "Ben" shows up too, pulling me into his zone during several key scenes
(one specifically involved his reaction to the "school incident"-I won't say
more). And then there's Samuel L. Jackson. Aaaaaah, you gotta love this man!
Film after film, he consistently manages to control your eyes through the
screen, and I don't think there was one second during this movie, that I thought
about turning away. And even though he's playing more of a "regular guy" here,
he still managed to draw me in with his magnetism, his powerful demeanor and his
superb acting. Kudos to both men for delivering the goods and for making the
film that much stronger. The supporting cast also added muscle to the mix,
including William Hurt, Sydney Pollack and a very smarmy Dylan Baker.
In the end, the film is going to thrill you, it's going to entertain you, it's
going to make you think and it should lead to a few interesting conversations on
your way home (maybe even with yourself). Yes! I'm happy because this week has
been a pretty crappy "movie week" for me thus far, but this puppy brought me
right back into the thick of things. Good, solid entertainment for adults who
like to have something to chew on while enjoying their bubble-gum.
Where's JoBlo coming from?
Bounce (8/10) - Cast Away (8/10) - The Count of Monte Cristo (7/10) - Crimson
Tide (9/10) - Cruel Intentions (8/10) - Fight Club (10/10) - Shaft (7/10) - Taxi
Driver (10/10)
Review Date: April 10, 2002
Director: Roger Michell
Writers: Chap Taylor, Michael Tolkin
Producer: Scott Rudin
Actors: Ben Affleck as Gavin Banek
Samuel L. Jackson as Doyle Gibson
Toni Colette as Michelle
Genre: Thriller
Year of Release: 2002
------------------------------------
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(c) 2002 Berge Garabedian
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