Traffik (2018) – Film Review
I walked in expecting a Get Out-style thriller, and walked out having experienced so much more.
Traffik’s main strength is in its subversion of our expectations, while enforcing and adding to the new paradigm of progressive, “brand-new eyes” films.
Firstly, Paula Patton (Warcraft, Déjà Vu) as Brea is amazing. Her Ripley-esque mindset in the latter half of the film is nail-biting; the odds are stacked against her, and she’s often against the ropes. Big sigh of relief at the end when what finally happens, happens. I got so attached to her and Omar Epps (House, Love & Basketball)’s relationship that it was difficult to see such hardship befall them. Literally, a “wrong place, wrong time” scenario… A surprise appearance from William Fichtner (Ultraviolet, The Lone Ranger (2013)) is never a bad thing—a fellow Brockport alum. Other compelling performances come courtesy of Missi Pyle (Galaxy Quest, Dodgeball), Roselyn Sanchez (Act of Valor, Without A Trace), and Luke Goss (Blade II, Hellboy II: The Golden Army). Believe it or not, I actually got tired of Laz Alonso (Avatar, Detroit) in his very first scene—couldn’t stand his character, waited for him to kick it.
One negative blip in an otherwise-stellar career—and film—though.
Moving on…
There’s a real message in here. Kind of disappointed there wasn’t a call to action during the end-credits—websites to visit or causes to donate to in combating sex trafficking, world-wide, but I can shrug that off. The shock-and-awe facts are enough to slap people in the face; seeing it first-hand through Epps and Patton’s characters, too, makes it more real than the news can. Something about film and what it shows us is special—unattainable via other outlets. That’s why little films like this are so cool—draw folks in with the promise of a thrill-ride, then blast a worthwhile message at them. Extraordinary—risky, even, but worth it, I believe.
I saw the twist coming a mile-off. I did not, however, predict some of the deaths that occurred on-screen. I literally gasped, once. I pulled for Patton all throughout, though; these traffickers make it personal, for her, and she uses that to best them. I vaguely remember the beginning creds saying this was based on true events—then again, inspiration can come from anywhere, with these types of stories. It was all conveyed really well.
This is the way the world is, but that doesn’t mean it’s unfixable. Most choose to look the other way, or don’t realize their potential in righting wrongs, sure, but all it takes is one. One person. One call. One word spoken up in protest. A single spark can light a wildfire.
That’s what Traffik’s message is. Do something, it’s better than nothing…
What would you do, whether you were directly involved in a case like this, or had an opportunity to stop it…?
An intense trip, for sure. Sweaty palms one minute, choked-up feels the next. With a sick soundtrack, to boot, Traffik does what few films even feign at, nowadays: Wow the audience.
Final ‘Risk Assessment: *****/
Next review: Overboard (2018; May 4th)
