Search results
- Steven Soderbergh's great, despairing squall of a film, Traffic, may be the first Hollywood movie since Robert Altman's Nashville to infuse epic cinematic form with jittery new rhythms and a fresh, acid-washed palette.
www.rottentomatoes.com › m › 1103281-traffic
People also ask
Is 'traffic' a bad movie?
When was traffic released?
When was traffic based on a true story?
Is traffic a thriller?
Steven Soderbergh's great, despairing squall of a film, ''Traffic,'' may be the first Hollywood movie since Robert Altman's ''Nashville'' to infuse epic cinematic form with jittery new rhythms...
Jan 5, 2001 · Rated: 4/4 Sep 8, 2023 Full Review Stephen Holden New York Times Steven Soderbergh's great, despairing squall of a film, Traffic, may be the first Hollywood movie since Robert Altman's...
- (222)
- Steven Soderbergh
- R
- Michael Douglas
Traffic is a 2000 American crime drama film directed by Steven Soderbergh and written by Stephen Gaghan. It explores the illegal drug trade from several perspectives: users, enforcers, politicians, and traffickers. Their stories are edited together throughout the film, although some characters do not meet each other.
Aug 28, 2017 · It is a film that makes you think deeply hours or even days after you first watch it. ‘Traffic’ should be viewed more than once to really understand all of the nuances and subtleties embedded in its’ individual stories underneath its’ overarching central themes. When compared to most other movies of the crime drama genre, ‘Traffic ...
Steven Soderbergh's great, despairing squall of a film, Traffic, may be the first Hollywood movie since Robert Altman's Nashville to infuse epic cinematic form with jittery new rhythms...
"[It] may be the first Hollywood movie since Robert Altman's 'Nashville' to infuse epic cinematic form with jittery new rhythms and a fresh, acid-washed palette." Stephen Holden : The New York Times "Enormously ambitious and masterfully made, 'Traffic' represents docudrama-style storytelling at a very high level"
Jan 6, 2001 · And Steven Soderbergh (who had great luck earlier in the year with the more mainstream, yet inferior, "Erin Brockovich") joins Robert Altman (1975's "Nashville") and Paul Thomas Anderson (1999's "Magnolia") as one of the only contemporary filmmakers to successfully make an ensemble film with such an ambitious, epic scope.
