Date Released: 04/12/2002
Rated: R
Film Length: 99 Minutes
Produced by: Scott Rudin
Directed by: Roger Michell
Cast: Ben Affleck, Samuel L. Jackson, Kim Staunton, Toni Collette, Sydney Pollack, William Hurt, Tina Sloan, Richard Jenkins, Matt Malloy
Distributor: Paramount Pictures
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What is most fitting and candidly revealing about Michell's take on the social strain of his harried city dwellers is their preoccupation for being slaves to self-involving agendas. Thus, the film is able to capitalize on the three-dimensional aspects of what makes Michell's two main animated protagonists click in terms of their own personalized pressures. Certainly "Changing Lanes" will comply with the addage that desperate times calls for desperate measures. This is certainly the case for two such individuals in the form of the thriving and ambitious Wall Street lawyer Gavin Banek (Ben Affleck) and conflicted insurance agent Doyle Gipson (Samuel L. Jackson).
The dilemma originates when motorists Banek and Gipson collide in what appears to be a minor traffic accident during the morning rush hour in New York City. Both men, we find out, have something in common--they both have to be in the same courtroom building for different matters. Banek is apparently in a hurry and doesn't want to deal with the hassle of taking down personal information. Instead, he figures he can remedy this matter by offering Gipson a blank check to cover whatever damage has been done. But Gipson, a volatile ex drunk with a short temper, wants to settle things the right way. According to Banek, there's no way he's going to miss his appointment on the count of Gipson's stubborness. And so Banek hastily splits the scene while leaving the stranded and moody recovering alcoholic Gipson standing there in the middle of traffic with his inoperative car. Consequently, fuel is added to the fire when the insensitive Banek yells back to an infuriated Gipson these parting words, "Better luck next time".
Things really start to heat up and soon Gavin Banek will realize that his smug attitude toward the bewildered Doyle Gipson will soon haunt him. Gipson gets the last laugh momentarily when he notices that Banek left behind an important folder that will be crucial to his court appearance. Soon Banek feels the inconvenience of not having that folder at his disposal therefore potentially damaging his company's progress in attaining a multi-million dollar estate. In the meantime, Gipson finally makes it to his custody hearing almost a half an hour late only to see the judge side with his estranged wife by ensuring that she have custody of their two sons. What's even worst for the flustered Doyle is that his wife plans on moving with the boys clear across the country which further alienates Doyle to no end.
So the film diligently shows the gradual self-destructive nature of two enraged strangers sulking in all their agonizing glumness. Shortly after a disagreeable phone conversation between the two hotheads, things begin to boil even more. Gavin resorts to the offensive tactical method of destroying Doyle's finanacial record via a shady contact courtesy of his co-worker and ex mistress (Toni Collette, "The Sixth Sense"). Doyle holds Gavin's papers hostage and even starts to physically pounce on the pompous bigshot attorney. As one can imagine, matters get out of hand and what was seemingly an innocuous fender-bender between two souls now has snowballed into a full-fledged confrontation of cat-and-mouse.
Refreshingly, screenwriters Chap Taylor and Michael Tolkin manage to conceive a tight-knit storyline that's both challenging and uncommonly reflective for a fast-paced flick such as "Changing Lanes". More importantly, Taylor and Tolkin's script dutifully compliments Michell's high-wire direction by incorporating the ethical issue behind the inexplicable behavior of the dueling duo. Sure, both men want to ruin each other's lives because they feel the need to retaliate out of necessity and frustration. But then there's the mere moments when the film allows the flawed characters to stop and contemplate the actions behind the mayhem. Both Banek and Gipson are not mean-spirited individulas by any means; they're just two erratic guys who got caught up in the hustle and bustle regarding their chaotic, cobweb-entangled existence. The melodrama is genuinely presented with sensible flair and you never really experience what could have been a factitious and tedious showcase.
There are well-acted performances in "Changing Lanes", particularly from the film's lead players Affleck and Jackson. Affleck is convincing as the opportunistic fast-track attorney who's taught that his trick of the trade is to be a shark when in fact underneath lies a goldfish waiting to embrace some decency. And with the nefarious influences that invade Gavin Banek's life (such as his law firm's unctuous boss and father-in-law played with devilish gusto by actor-director Sydney Pollack), it's easy to see why this career-oriented shyster has to maintain a sense of slickness and sleaziness that's so prevalent in his backstabbing corporate world. And the reliable and explosive Jackson is always on his A-game when he plays ominous and imposing rogues whom are forced to snap when cornered with a pending dilemma. Characteristically, Jackson's Doyle Gipson is as potent and effectively menacing as the other unstable alter egos the edgy actor has previously portrayed with overwhelming vigor. The supporting cast is exceptional as well, particularly William Hurt as the AA sponsor who helps Doyle Gipson see the light that his hostile temperment is as addictive and poisonous as his craving for alcohol.
"Changing Lanes" does occasionally dissolve into the conventional raucousness of standard suspenseful fare such as the obligatory car chase as a stand-by climactic moment, but this is handled with modest care and is still in balance with the film's profound tone concerning its ribaldry. Plus, the script does test its credibility factor a bit (tell me, would any attorney--no matter how much his self-importance is evident--leave a scene of a car accident that he was involved in? And to boot, risk his license to practice law by defying an angry insurance agent of all people?). Given that instance of implausibility, you could still overlook that illogical scenario and appreciate the gripping built-in premise nevertheless.
All in all, "Changing Lanes" resorts to its directional signals with a forceful and riveting jolt for those who enjoy their psychological thrillers as a keen and crafty exorcise that's both joyously insightful and flamboyantly shrewd.
Frank rates this film: *** 1/2 stars (out of 4 stars)