
The movie takes a broad approach to the war on drugs in the USA. It shows the corruption in both Mexico and the USA. Both on a personnal scale as on larger scale. The movie has a lot of storylines, which are tied together slowly.
![]() |
Don Cheadle | Montel Gordon |
![]() |
Dennis Quaid | Arnie Metzger |
![]() |
Michael Douglas | Robert Wakefield |
![]() |
Luis Guzman | Ray Castro |
![]() |
Viola Davis | Social Worker |
![]() |
Salma Hayek | Rosario |
![]() |
Benjamin Bratt | Juan Obregón |
![]() |
Albert Finney | Chief of Staff |
![]() |
Catherine Zeta-Jones | Helena Ayala |
![]() |
Topher Grace | Seth Abrahms |
![]() |
Miguel Ferrer | Eduardo Ruiz |
![]() |
Jacob Vargas | Manolo Sanchez |
![]() |
Emilio Rivera | Salazar Soldier #2 |
![]() |
Michael O'Neill | Lawyer Rodman |
![]() |
James Brolin | General Ralph Landry |
![]() |
Enrique Murciano | DEA Agent - Trailer |
![]() |
Carl Ciarfalio | Ruiz's Assistant |
![]() |
Amy Irving | Barbara Wakefield |
![]() |
Margaret Travolta | Economist |
![]() |
Tomas Milian | General Arturo Salazar |
![]() |
Benicio Del Toro | Javier Rodríguez |
![]() |
D.W. Moffett | Jeff Sheridan |
![]() |
Jeremy Fitzgerald | DEA Agent - CalTrans |
![]() |
James Lew | DEA Agent - CalTrans |
![]() |
Beau Holden | DEA Agent - CalTrans |
Director | Steven Soderbergh |
![]() |
Writer | Simon Moore, Stephen Gaghan | |
Producer | Laura Bickford, Marshall Herskovitz, Cameron Jones, Graham King, Andreas Klein, Mike Newell, Richard Solomon, Edward Zwick | |
Musician | Cliff Martinez | |
Photography | Steven Soderbergh |
Packaging | Keep Case |
---|---|
Nr Discs | 1 |
Screen Ratios | Anamorphic Widescreen (1.85:1) Widescreen (1.85:1) |
Audio Tracks | Dolby Digital 5.1 [English] Dolby Digital Stereo [English] |
Subtitles | English (Closed Captioned) | French | Spanish |
Layers | Single side, Dual layer |
Edition Release Date | May 29, 2001 |
Regions | Region 1 |
Watched | |
---|---|
Quantity | 1 |
Index | 316 |
Added Date | Mar 10, 2012 13:58:33 |
Modified Date | Jun 12, 2022 00:33:57 |
Story Synopsis:
About the many steps in the thorny chain of drug dealing, Traffic follows the route of those involved in the movement-or thwarting-of illegal drugs. From the high school kid who does it, to her dealer, to his supplier, to the sources in Mexico. On the other side of it is the country’s new “drug czar,” the DEA agents, and the Tijuana police officer who straddles the fence. This excellent film, based on the U.K.’s Channel 4 Television program Traffik created by Simon Moore won Oscars® for its director, Steven Soderbergh, supporting actor, Benecio Del Toro, screenplay and film editing. Watch for cameos by California State Senator Barbara Boxer. (Laurie Sevano)
DVD Picture:
The anamorphically enhanced 1.85:1 DVD exhibits a stylized picture with different appearances between the three main storylines throughout the film. The Mexico scenes are intentionally raw and uninviting. These scenes have a desaturated, harshly contrasted quality, and are revealing of film grain and artifacts. To achieve the look, the filmmakers overexposed the film and shot through a tobacco filter, giving the picture a sweltering, somewhat monochromatic appearance. In the scenes in Washington D.C., colors have a blue cast that gives the picture a cold feel. Yet in the third storyline of the film, in San Diego, the picture is slightly softer, but colors are more accurately balanced, with accurate fleshtones, rich hues and deep blacks. Blue filters are used at times. Overall, images are sharp and nicely detailed, with fine details revealed in clothing and facial features. While some minor pixelization is noticed, there is no obtrusive edge enhancement. Considering the intentionally stylized qualities of the picture, images are quite solid and appear to nicely represent the visual creativity of Steven Soderbergh. (Suzanne Hodges)
Soundtrack:
This soundtrack is a milestone in terms of the production, in that supervising sound editor and re-recording mixer Larry Blake edited, and mixed the audio entirely on a computer workstation, small-room environment using the Pro Tools software, rather than on a conventional multi-track mixing console in a dubbing theatre. Overall, the sonic character is somewhat soft, in comparison to other contemporary soundtracks. The dialogue and sound effects used in the final mix were originally on-set production recordings. Voices tend to exhibit a close-miked characteristic, but otherwise are impressively natural sounding with spatial integration that is inherently seamless. Because the film has a documentary-type feel to it, the soundfield has been deliberately styled to be oriented from the center channel. The music is the multichannel element of the soundtrack, offering a pleasing sense of immersion with .1 LFE incorporated for a palatable low-end presence. This soundtrack, though conservative in terms of dimension, serves as a vital component in terms of the storytelling experience through its creative nuances. (Perry Sun)
This Disc Contains The Following WSR-Rated Superb Qualities:
Superb Cinematography