Netflix And Chill: Traffic (2000)

Based on a TV series that I sadly never saw (yet), Traffic is another excellent ensemble film from Steven Soderbergh that allows him to play to his strengths aka his ability to marry the right cast to an intelligent script and present everything in a way that is both grounded and also cine-literate and full of memorable moments.

In case you couldn't guess from the title, Traffic is all about the drug trade, showing how it affects a number of key figures in both America and Mexico. Danger and death are never too far from people on the front line (played by the likes of Benicio Del Toro, Don Cheadle, and Luis Guzmán), getting a proper handle on the situation may prove too difficult for someone making moves politically (Michael Douglas), and those high up the "food chain" (such as characters played by Thomas Milian and Steven Bauer) might prove impossible to bring back down to within reaching distance of the not-so-long arms of the law.

Everyone I have just mentioned does a great job here, but the highlights are undoubtedly, for me, Del Toro, Douglas, and Catherine Zeta-Jones (playing the wife of a businessman arrested for drug dealing). Cheadle and Guzmán work brilliantly together, and they have a number of scenes with the brilliant Miguel Ferrer, who surprises nobody by turning up onscreen to spend some time being . . . brilliant. Erika Christensen has the job of showing how drugs can easily take hold of the kids, helped along by her unfortunate association with a young sleazebag played by Topher Grace. Some characters may figure more prominently than others, but everyone plays their part in showing the risks and rewards, and the outward ripple effect, of the drug supply chain.

Soderbergh has a savvy script by Stephen Gaghan to work with, and he treats it well. It may seem like an obvious gimmick to give the differing story strands a basic kind of colour coding, but it certainly helps to keep viewers orientated as we jump from one scenario to another, looking out for important developments and points of interconnection (not necessarily in the standard narratives or character moments, but more often in the methodology and the shaping of spiderwebbing plans).

Despite all of the positives on display here, Traffic could have easily failed if it had at any point started to feel like some piece of scaremongering or propaganda. Thanks to Gaghan and Soderbergh, it never does. There's one hard truth at the heart of this, and it's not one that everyone will appreciate. The war on drugs was never won, and probably never will be. A profitable drug economy is like a viral video of some majorly embarrassing incident. No matter how much people hope it will disappear, it's only going to spread and worm into the global consciousness of anyone who gets wind of it.

One or two scenes in the third act notwithstanding, bits of melodrama that feel unnecessary and a bit overdone, this is a strong contender for Soderbergh's finest film, and those brief moments aren't enough to stop it from being something I consider pretty perfect. I'd even say that it's a film vying for a very high position in the respective filmographies of every main cast member. Smart, thrilling, equal parts thought-provoking and entertaining, Traffic is a film that everyone should watch at least once. And I'm sure many will make time for repeat viewings.

10/10

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Blank Cheque (1994)

A decidedly average Disney movie that, unsurprisingly, I enjoyed more when I was a bit younger, Blank Cheque (or Blank Check) is one of many movies selling its concept in the title.

Brian Bonsall plays young Preston Waters, a lad who never seems to get what he wants, and never has much pocket money. So when he's almost hit by a car backing into him he thinks he's hit the jackpot when the harried driver (Miguel Ferrer) hands him a blank cheque. Preston then makes the cheque out for one million dollars and heads to the bank the next day. Amazing as it seems, he receives the money, but that's not necessarily as good as it seems. Ferrer, you see, is a bit of a crooked type (did he play any other type in the '90s) and when he finds out that his money is missing he becomes determined to get it back. Meanwhile, Preston gets spending, telling people that he is now in the employ of a Mr. Macintosh.

It's funny how $1M doesn't seem like all that much nowadays, but it's worth noting that it wasn't actually all that much back in 1994, when this movie was released. It's a nice, round figure, and it's the type of figure that a kid would aim for, but the film does remind viewers that anyone trying to spend this kind of money like water isn't going to need too much time.

Director Rupert Wainwright keeps everything moving along at a zippy pace, and he makes sure that kids will enjoy watching the main character live his dream, but the script, by Blake Snyder and Colby Carr, never does as well as it should. The humour isn't as sharp as it could be, the tension fails to rise, even when Ferrer starts to get closer and closer to his target, there's a very clumsy story strand involving Preston and a woman (Karen Duffy) that he takes a shine to.

The young lead isn't the best to appear in a Disney film, but he may well be served short by the script so I'm not going to be overly critical. Thankfully, the adults fare slightly better. As well as Ferrer, who can do menacing in his sleep, there are enjoyable turns from Tone Loc and Michael Lerner, as two men helping him to retrieve his money. Duffy is an enjoyable presence, although she's dragged down by being the potential "love interest" for a minor, and Rick Ducommun is a lot of fun as the limo driver who befriends Preston while driving him around.

It still has enough to appeal to its target demographic, but this is by-the-numbers stuff that doesn't leave any major lasting impression. Montage moment? Check. Light and upbeat soundtrack? Check. Moral lesson learned? Check. Adults pratfalling as a kid outwits them? Check. Decidedly average and . . . . . blank? Check.

5/10

http://www.amazon.com/Blank-Check-Jayne-Atkinson/dp/B000089771/ref=sr_1_2?ie=UTF8&qid=1401500535&sr=8-2&keywords=BLANK+CHECK

I don't get paid for blogging, and some may think that's obvious/a good thing, but every copy of my book sold gets a few pounds in my pocket, and gets you a good read (if I say so myself). So please feel free to remember me whenever you're visiting Amazon.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

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The Guardian (1990)

Throughout the history of the horror genre, there haven't ever been too many terrifying trees. Oh, there have been some (that nasty bunch of pervy perennials in The Evil Dead movies and that twisted old thing in Poltergeist to name the only two I can think of off the top of my head), but by and large, trees don't instil a sense of fear and dread. Unless you're a huge Marc Bolan fan.

The Guardian is a story all about a deadly tree. Jenny Seagrove plays Camilla, a beautiful young woman who ends up being employed by Phil (Dwier Brown) and Kate (Carey Lowell) to look after their new-born son. What the new parents don't know, however, is that Camilla is a bit of a spooky Druid witchy woooooo type and she seeks out new-born children to sacrifice to a big tree. Yes, it's a standard "wolf in sheep's clothing" thriller wearing a cloak of magic.

Just what those involved were thinking is beyond me. Based on a novel by Dan Greenburg, Stephen Volk was the poor guy who tried to turn the laughable premise (which may have worked much better in the book, I don't know) into a decent horror film. With William Friedkin in the director's chair I'm sure that there was always some hope, however slim, of it all turning out well. Sadly, that wasn't the case.

It remains an entertaining movie, but for all the wrong reasons. Viewers can laugh as someone gets decapitated by a deadly branch or ogle the attractive Jenny Seagrove in the many scenes involving her not wearing that much clothing, if any. Dwier Brown and Carey Lowell (who obviously wanted a hit after Licence To Kill to save her from the fate of being "just another Bond girl) try their best, but by the time everything starts getting out of control it's hard to believe that both didn't have any earlier suspicions about the new, perfect nanny. Brad Hall is that thriller staple - the friendly face who stumbles on to the bad secret before the leads - and he's treated pretty badly by the script. Miguel Ferrer has a small role, Xander Berkeley pops up in the last reel in a small role and Theresa Randle has, you guessed it, a small role as one of the potential nanny candidates before Seagrove ensures her own placement in that position.

It's not dull, though it's not very lively either, and none of the set-pieces have the impact that they were obviously supposed to have, but it's not without its charm and I found myself enjoying it a lot more than I had any right to. I recommend that others give it a try, if only to allow me to continue maintaining the fantasy that I'm not the only one who sometimes enjoys such nonsense.

5/10

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