#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – An attorney in a rush to make a court appointment to file legal papers involving a multi-million dollar trust accidentally collides with an alcoholic insurance salesman, who also is a rush for a court appointment involving the custody of his children. The attorney leaves the scene of the accident and strands the salesman, causing him to miss his custody hearing. During the process of the post-crash discussion, the attorney accidentally drops the papers he needs to present in court. The judge gives him until the end of the day to present the papers and thus begins a cat and mouse game between the proponents. A few questionable actions later on both parties’ part, they finally start questioning their actions and their lives. In the end, both come to new understanding of what is important and appear to be set in new ethical and moral directions. Contains mild violence and profanity.
Plot: A rush-hour fender-bender on New York City’s crowded FDR Drive, under most circumstances, wouldn’t set off a chain reaction that could decimate two people’s lives. But on this day, at this time, a minor collision will turn two complete strangers into vicious adversaries. Their means of destroying each other might be different, but their goals, ultimately, will be the same: Each will systematically try to dismantle the other’s life in a reckless effort to reclaim something he has lost.
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|6.5/10 Votes: 67,230|
|6.1 Votes: 694 Popularity: 13.631|
Decent watch, probably won’t watch again, and can’t whole-heartedly recommend.
It is amazing all that can happen from a simple car collision, but it is more of a privileged jerk effect than the Butterfly Effect.
This whole movie is sort of a philosophical discussion of moral ambiguity with a secondary question of whether one side fuels the other.
While I enjoy this do, don’t show philosophical battle, the realism of the insanity that occurs in this movie is terrifying.
The movie is as good as it could be, but it’s awkwardly average in the end.
It was pretty…. interesting, but I can’t imagine it’s the sort of thing I’d ever re-visit. Strong performances are forthcoming from Sam Jackson and Toni Collette, everyone else is sort of stale. There’s not a lot of movies out there like _Changing Lanes_, so it’s a shame that it didn’t end stronger.
_Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole_.
Changing Lanes: A turn for Hollywood? (8 stars)
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.
Thrills, Never Shocks,
Changing Lanes is a good movie with a well developed plot and a great cast. It is certainly an enjoyable thriller, as we follow two men, Ben Affleck and Samuel L. Jackson, whose lives are turned upside down after a car crash. Neither character is portrayed as an antagonist or protagonist, we see the good and bad qualities of both of them, which makes for an interesting way of telling a story, as we support both but also see how they are both flawed.
However, it never really surprised me, any twist and turn throughout can be predicted from a mile away. There’s no big moment that will make you jump off of your seat. As well as that, it pacing could have been much quicker. There are far too many slow moments with heavy dialogue, it needed more car chase’s and suspenseful parts, it never truly delivers on its potential.
Though it may suffer from predictability, Changing Lanes is still an enjoyable ride that I would recommend to anyone looking for a good drama or thriller, just do not go out of your way to see it.
A lawyer and a businessman’s lives are turned upside down after a road incident.
Best Performance: Samuel L. Jackson / Worst Performance: Amanda Peet
Original Language en
Runtime 1 hr 38 min (98 min), 1 hr 31 min (91 min) (TV) (Turkey)
Genre Drama, Thriller
Director Roger Michell
Writer Chap Taylor (story), Chap Taylor (screenplay), Michael Tolkin (screenplay)
Actors Ben Affleck, Samuel L. Jackson, Kim Staunton, Toni Collette
Awards 7 nominations.
Production Company Paramount Pictures
Sound Mix DTS, Dolby Digital
Aspect Ratio 2.35 : 1
Camera Panaflex Camera and Lenses by Panavision
Laboratory DeLuxe, Hollywood (CA), USA (prints), Technicolor, New York (NY), USA (dailies)
Film Length 2,700 m (Sweden)
Negative Format 35 mm (Kodak)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic) (Kodak)