C.I.A. analyst Jack Ryan must stop the plans of a Neo-Nazi faction that threatens to induce a catastrophic conflict between the United States and Russia's newly elected President by detonating a nuclear weapon at a football game in Baltimore, Maryland.
In Canton, Mississippi, a fearless young lawyer and his assistant defend a black man accused of murdering two white men who raped his ten-year-old daughter, inciting violent retribution and revenge from the Ku Klux Klan.
Samuel L. Jackson
When a Las Vegas performer-turned-snitch named Buddy Israel decides to turn state's evidence and testify against the mob, it seems that a whole lot of people would like to make sure he's no longer breathing.
The opening scene that takes place in the Temple of Dendur in the Metropolitan Museum was shot in one day. See more »
There are several inconsistencies between shots in the condition and position of Doyle's car after the crash, including the passenger side mirror, which is broken off in the wreck and then reappears and disappears after the car hits the yellow crash barrels. See more »
Thanks to the staff and Militia Force members and veterans at the Marcy Avenue Armory, Brooklyn, New York. See more »
There was an early review of the movie that contained a spoiler of the ending. The ending that was originally used involved Ben Affleck and Samuel L. Jackson getting into a fist fight that leads onto the balcony. They talk about right and wrong and Affleck takes the file and tears it up and the movie fades to credits. This ending was most likely cut because test audiences did not like it. It will most likely appear on the DVD. Also a small clip shown in the TV ads shows Affleck and Jackson fighting on the balcony. This was part of the original ending which explains why it was cut. See more »
When `Changing Lanes' first opens, the viewer is presented with a montage of jagged credits, trendy jerking photography cruising NYC streets, and electronic beats that are so cool they could be used for cryogenic freezing. It quickly seems apparent that this film is simply a star-vehicle for Ben Affleck and Samuel L. Jackson; it seems apparent that this is a cold and impersonal genre-exercise for a successful comedy director, Roger Michell (`Notting Hill'), to branch out; it seems to be all these things until the end of this sequence when the camera glances out the window of a school bus out onto the New York City skyline, and there we see it: the World Trade Center. Unlike Sam Raimi's upcoming `Spider-Man', delayed after September 11th so that the WTC could be digitally removed, this is a film unafraid to date itself, and unafraid to look at human truth.
Affleck plays the role of the oddly named Gavin Banek (did they take the name Ben Affleck', throw it in a blender, and add some new letters for good measure?), a high-power lawyer on the verge of becoming one of the partners at his law firm, alongside his father-in-law. Jackson is Doyle Gibson, a reforming alcoholic father of two clawing his way out of his hole and trying to save his marriage. On a critical day in both their lives, Doyle going to court to try winning joint-custody, and Gavin on his way to seal his career-making case, the two get into a minor accident on the FDR turnpike, causing Doyle to miss his hearing and Gavin to accidentally give Doyle a signed document that is critical to his case and it all unravels from there.
The two tumble in a daylong haze of malice and self-destruction, sabotaging each other's lives. Whenever either decides to throw in the towel and do the right' thing, it is too late and the other has already escalated it to the next level. His life quickly falling down around him, Gavin begins to examine it for the first time, taking a deep look into his wife, his law firm, his boss/father-in-law, and himself ultimately questioning his motivation for trying to retrieve the document in the first place.
This is where the film really shines: many movies ask the question what makes a man?' but `Changing Lanes' does it with honestly and authenticity. The screenplay, by Chap Taylor, asks if it is success, or if its providing for one's wife and kids, or if its true goodness, avoiding superficiality and delving into the motivations for each. In one telling monologue, Gavin's father-in-law, played with perfect tone by Sydney Pollack, says, `At the end of the day, I do more good than harm. What other standard have I got?' Unfortunately, the movie does not really ask the question of what makes a woman, even though both wives show real strength. The movie does not even seem to suggest that Gavin and Doyle's struggles could even be applied to women (obviously they could, had the movie explored that).
Jackson, always an excellent actor, is great as Gibson even if he has performed better before. Surprisingly, in this film Affleck's acting actually seems to surpass Jackson's in this amazing performance that is probably the best we have seen from Affleck so far.
All of the characters in the film, including minor-roles and extras, all exhibit a very human feel, and seeing real-feeling people on the screen has always been something rare and not to be taken for granted. The viewer comes to care about everyone in the picture: Gavin, Doyle, their wives, the guy at the bank, even the stranger at the bar.
New York City itself is alive in this movie: it breathes, coughs, and gasps with Salvatore Totino's shaky, unsaturated, claustrophobic photography. Totino really looks at people and the city in the face, and does not try to make them prettier or uglier than they are. David Arnold's original electronic score is a refreshing change from the very poor attempts at orchestral music that most movies are now filled with. Arnold's score very effectively sets the mood and reinforces the tempo of the movie.
`Changing Lanes' is a success for Roger Michell that shows us that a movie can have major stars, be entertaining, glossy, substantial, and pensive all-at-once.
`Changing Lanes' is rated R for a fender-bender, destruction of office equipment, unseen infidelity, a shot of the World Trade Center, and honest depiction of the human condition.
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