Frankie is sent from London to Spain to make a delivery to Charlie, who likes the kid and shows him the ropes including the use of guns and drugs. Frankie likes the sun, pools and the cute, bikini clad girls and stays in Spain.
The Cardiff club scene in the 90's: five best friends deal with their relationships and their personal demons during a weekend. Jip calls himself a sexual paranoid, afraid he's impotent. Lulu, Jip's mate, doesn't find much to fancy in men. Nina hates her job at a fast food joint, and her man, Koop, who dreams of being a great hip-hop d.j., is prone to fits of un-provoked jealousy. The fifth is Moff, whose family is down on his behavior. Starting Friday afternoon, with preparations for clubbing, we follow the five from Ecstacy-induced fun through a booze-laden come-down early Saturday morning followed by the weekend's aftermath. It's breakthrough time for at least three of them.Written by
The 'Making of' feature on the Remixed DVD goes into the difficulties of filming a 4 minute Steadicam tracking shot. This shot never appeared in the final version of the film and led to the first Assistant Director leaving the project. See more »
When Jip is driving home from work, his right foot - his accelerator foot - is tapping along to the music yet the car still drives smoothly. See more »
Every club is different, but in the Asylum it's the manager. He has a string of homeboys dealing the pucker Es to the party people in the club. He makes the most coin out of this enterprise. His homies will make just a couple of quid on each pucker. His homies are also scoping for other dealers on the block. Where the homies have an illegitimate pucker E dealer in their website they tell the bouncers. The bouncers grip him, nab his stash and kick him out with a physical warning. They give the ...
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US version - when kip is introducing Lulu - he says that he has "recently become clubbing partners" where the UK version he says "recently become dropping partners". See more »
Any film with Bill Hicks AND Howard Marks can't fail..surely?
At its end, HUMAN TRAFFIC has hit one note quite charmingly for a breezy ninety minutes, not overstaying its welcome, but never in danger of becoming anything more than a curiosity to its audience.
In fact, it begs the question why the opening credits interspersed footage of protests against the draconian Criminal Justice Bill with scenes of revelry. The film cops out at every opportunity to make a serious comment on disillusioned youth, tied to mind-numbing jobs, a drug generation needing an escape. Any film which contains an affectionate tribute to the prophet Bill Hicks (the best, most astute and concerned stand-up comedian that ever lived), and an inspired cameo from Howard Marks surely demands a bit more substance.
But HUMAN TRAFFIC never allows you to linger on its flaws. It adopts an entirely disjointed narrative, liable to go off on tangents at any stage, for any interval. You get the suspicion the filmmakers think there is something especially inventive about the surreal treatment (which extends little further than illusion sequences and direct-to-audience addresses). But it hardly matters whether the visual tricks hit-or-miss, they offer a surprising, and refreshing way of extending a slim idea out to a relatively full 90 minutes.
Justin Herrigan actually develops the characters to the extent you can't help but care about them. Honest in their weaknesses, they are easy to relate to. He should be applauded for extending the appeal of the film beyond an exclusive target audience. It would be inadvisable to compare it with the much stronger TRAINSPOTTING and TWIN TOWN, although all three are refreshingly different. HUMAN TRAFFIC is an affectionate, semi-autobiographical account of modern culture.
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