The actors aren't completely without charm, but the movie is just trying too hard to achieve the effervescent buzz it seeks. A brief break dancing sequence is a moment of genuine dazzle. All the best moments are when the tepid dialogue stops and the driving beats and quickly edited images take over. All three films portray only sex trafficking of young women and girls. Critics usually complain that movies are too much like music videos, but Human Traffic could stand to be more of one. What little plot there is revolves around whether or not they'll get into a particularly hip club. Koop's father is a paranoid schizophrenic. Moff masturbates a lot and has a repressive dad. Koop gets ravingly jealous about his girlfriend, Nina. Jip and Lulu are best friends, only their friendship is about to be threatened by sexual tension. A band of friends, with the cute names of Jip, Koop, Nina, Lulu, and Moff, are sex-obsessed clubgoers having some sort of premature midlife crisis. The party friend says "bummer" and buys you a drink.Human Traffic wants to be a Trainspotting for the rave set, and so it has thick British accents, hip snotty attitudes, slick visuals, a propulsive electronic soundtrack, and unfortunately some very weak writing and drab characters. The real friend goes outside in the rain and helps you change it. You know the difference between a real friend and a party friend? You have a flat tire. The more you go through things together, the more you bond those relationships." Uh, huh. "There is definitely more to their relationships than just going out, taking drugs and having a good time," says Nicola Reynolds, an actress in the film. For the characters in "Human Traffic," these weekends are as good as it's going to get. " Kicking and Screaming" was enlightening because it showed that kids of about the same age, given a chance at a decent education, were more interesting and better at entertaining themselves. But every weekend has its own plot, and every plot has its own unhappy ending, which is known as Monday morning. I could name them (all right: Jip, LuLu, Koop, Nina and Moff). The characters have names, and there is a plot-a plot and a half, in fact. "Human Traffic" is narrated as a pseudo-documentary the characters take us on a tour of their world, but the real narrator is the director, who could not make the film if he lived as his heroes do. Ballard (Caviezel), a federal agent, finds. government agent that quits his job to rescue children from global sex traffickers. "I was always watching them, always fascinated by them," he remembers, and today, at 34, while he still plays the same role, he does it on the Letterman show, while his friends are still in the basement, or in the ground. The film is based on the true story of Tim Ballard, a former U.S. simmspotting 387 subscribers 605K views 14 years ago Trailer for the 1999 film 'Human Traffic', directed by Justin Kerrigan and starring John Simm, Lorraine Pilkington, Shaun Parkes, Danny Dyer. Jim Caviezel stars as a hero trying to stop child traffickers in a paranoid new movie turning into a surprise box-office hit Type the words sound of freedom into Twitter (decent people who. I was reminded of Mark Borchardt, the subject of the great documentary " American Movie," who dropped out at 13 or 14 and started drinking with his friends in the basements of their houses. He isn't working in a fast-food outlet for minimum wage. There is no perspective, no angle: He sympathizes with his characters. The director of the film, Justin Kerrigan, is 25. Fate of course is a practical joker with a nasty streak, but try telling them that. Fate has said they can put unknown substances into their systems and survive. Why is it funny? Because they're getting away with it. It is funny to get wasted, to almost overdose, to do reckless things, to live dangerously, to flirt with crime and drugs. They laugh at one another's self-destructiveness. The movie remembers how at a certain age, hanging out with your friends, feeling solidarity against the 9-to-5 world, creates a fierce inner joy. There must, we think, be something more for them than this dead-end lifestyle. They have high spirits and their speech possesses the style and wit that can still be heard in those pockets of verbal invention (Ireland is another) where conversation is still an art form. They live for the weekends, when they can go out to rave clubs, use ecstasy, heroin and whatever else they can get their hands on, and pretend for 48 hours that they are free. The film takes place in Cardiff, in Wales, and is mostly about five friends who have jobs of stultifying boredom.
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