Human Traffic

Making a film about the 'chemical generation', those who live for the weekend, must have been a very hard enterprise. It would have to accurately reflect the lives and experiences of 'clubbers' and also appeal to a wider audience. Human Traffic just about achieves that.

It is certainly spot on in with it's observations and in it's accuracy. It's obvious the filmmakers have 'been there and done it'. If you are or were once like the people in this film, than there is so much to relate it. It's all there, often depicted humorously but not condescendingly. The fake euphoria of being on 'E'["in the end ,I just want to be happy, yeah ,that's it.....hang on, what the **** was I talking about?"]. The monged conversation at 4 am which seems deep and meaningful but is basically rubbish [ Star Wars being about drugs!]and gets more and more incoherent. Exchanging pleasantries with someone you only see in pubs and clubs and really can't stand. 'Coming up' suddenly at the same time as someone else and mumbling to each other what you're 'on' at the speed of light. Reminiscing how it was better in the 'old days' and is now too commercial and widespread. Doing it all for the first time and going off with a bunch of dodgy geezers who are suddenly your best mates. The thrill of finding the after party. The depressing, inexorable sense of returning to the reality.

The film's attitude to drugs is commendable, drug taking is simply something the characters do, and that's all. Nobody dies or is seriously ill ,and yet there is a sense that it doesn't really lead anywhere. "After all ,we'll not going to be doing this for ever, are we" says one character at the end.

The film falters a little when depicting the lives of it's protagonists. For many scenes, director Justin Kerrigan uses a kind of 'heightened reality', for instance in a scene when a character comments on how the workers in a fast food place are like robots and for a moment they 'become' actual robots. This approach does not always work, and it's a shame since the characters are all the sort you could expect to run into on a Friday night. We do care a bit about their respective lives and problems, but we don't really get to know the female characters properly, and what is really the main thrust of the plot, the blossoming romance between two of the main protagonists, is dwelled on too much and is somehow unconvincing,if sometimes quite sweet. The acting is generally OK if not great.

Human Traffic is not as important a film as, say, Trainspotting, which despite being about heroin addicts seemed to speak to a generation. Nonetheless, it's a truthful depiction of an element of society which films and TV either ignore or condescend to. Incidentally ,there are two versions, the director's edit and the later producer's edit. The latter, which cuts some footage, changes some music and adds some silly CGI, is inferior to the former.

I have a completely biased point of view mainly because I live and enjoy the club culture lifestyle. Being a DJ and frequent club goer I see the honesty within this movie and I love it. If you don't know the club/rave culture then it will be a great foray into that culture for anyone that doesn't know it first hand. The honest portrayal of human emotion and issues in the part of Jip I loved. The characters were well constructed and I thoroughly enjoyed this film. I really don't enjoy the fact that you have to write ten lines on this web site. I will write at least 6 or 7 but i feel that i can portray my point with fewer than ten. Here are some extra lines to make the IMDb gods happy.

I recently watched this flick twice on a trip back from Ireland on Virgin Atlantic (a nine hour flight). It reminded me of a UK version of Cameron Crowe's "Singles" but a hell of a lot more fun. I loved the scene where the main character makes up a new national anthem (one he identifies with). This movie is worth watching for that scene alone. "Human Traffic" doesn't provide much insight into the human condition, but that's not what it's trying to do. It's just about a group of young people trying to figure out their lives at that point in time. It's definitely a great film if you want to watch characters who lead even more pointless lives than you. The place was different, but in my early twenties I saw some of my own traits (namely the pursuit of "fun" and women) in the male characters.

It is Cardiff in the late nineties; five friends head out for a weekend of drugs, alcohol, sex and clubbing. Through the Ecstacy-induced high to the alcohol-assisted comedown to the feelings of the morning after, their lives are on the brink of changing forever When 'Human Traffic' was released, many critics claimed that this was the last great British film of the nineties – and how right they were. This film is so inherently a nineties movie, it's like opening a time capsule. To be young was to be a clubber; to be living for the weekend, when mixing alcohol with drugs was a given. Writer-director Justin Kerrigan captures that oxymoronic feeling of immortality and insecurity beautifully, through five characters that complement each other so well.

Obviously, the success of the characters hinges entirely on the success of the actors, and what 'Human Traffic' also gives you is a snapshot into what would (and could) become the future of British cinema. Top of the pile is John Simm, who went on to achieve well-deserved acclaim for Life On Mars. This is arguably his breakthrough performance, and he's a joy to watch.

But, in my honest opinion, the plaudits need to go to Danny Dyer. For those with a decent knowledge of Dyer will know that he is mostly known now for playing really rubbish characters in really rubbish films. But in 'Human Traffic', he is brilliant. The character of Moff isn't the nicest – he is hooked on drugs, isn't overly intelligent, and is desperate for friends – but Dyer imbues that unlikeable character with a childlike innocence which you warm to. It's by far the best performance I've ever seen from him, and makes me realise why he managed to keep a career going. The rest of the cast is made up of actors who have since faded into the distance; which, to be honest, isn't surprising as the performance levels don't match up to Simm and Dyer. While everyone has moments of good work, it is never quite as consistent. I feel like there were better young actors at the time who could have done a better job.

You could argue that the film is a bit dated, and it's not a bad argument to make. Obviously, the youth of the nineties is a lot different from the youth of today. But for those who were part of the nineties generation, 'Human Traffic' provides the same feeling of nostalgia that 'Trainspotting'. Both are films stuck in time, but not in a way that hurts them. 'Human Traffic' is a love letter to the nineties, and well worth a watch.

Director: Justin Kerrigan.

Justin Kerrigan - this time you've really done it. Human Traffic is going to upset the majority of film critics who will view the lack of plot, the drug induced dialogue and the futile outlook on Nineties Youth culture as a miserable and desperate view of how weekends are spent by ravers and clubheads across the UK. Moreover, they will spot camera work borrowed from Boogie Nights and even try and associate the whole film with 'Trainspotting' theme (because, lets face it, a Scottish Heroin addict trying to clean up his act and a Welsh clubber looking for a good time with his mates is pretty much the same thing, right?)

Well wrong. Human Traffic has landed - along with one and a half quality hours of clubs, drugs, pubs and parties - and its time to leave behind your preconceptions of what a film should be like (where's the plot? I want a plot!) and instead delve into the lives of Jip (John Simm) and his mates, Nina (Nicola Reynolds), Koop (Shaun Parkes), Lulu (Lorraine Pilkington) and Moff (Danny Dyer). There's nothing special about these five friends; they're just hanging out together and showing you the way they lead their lives. They are not Burger King. They certainly don't do it your way. And you don't like it - well, tough.

Because essentially this period piece has captured everything that Nineties youth culture is revolving around. There are no clear solutions, in fact very few problems in the first place. At the end of the day, what Jip and his friends are doing is living and who are we to know or comment on anything different? They drink, smoke dope, pop pills and party; they know the risks and they're prepared to take them and moralists will just have to sit back and (try to) enjoy the ride.

The sound track is terrific and accompanies the highs and lows of the 48 hour weekend and the events that take place in it. But within this, what first appears to be social unity, we see traces of individual isolation that are easy to bypass in a culture of hedonism. Jips paranoia of sex, Koops jealous possession of Nina and Moff as his drug habit digs him deeper into his own hole and further away from his family, asks the question 'are things really this good?' However they will not be exaggerated to the extent that they are conspicuous, giving the film a controversial stance on drugs and the role in social integration. Kerrigan is pulling no punches. And why should he? This isn't GO! or any other such American rave film with clear cut margins and please-the-crowd conclusions - it is one that forces us to question whilst at the same time enjoy the at times hilarious, touching and other times exciting events of 48 hours with a group of five 'friends'.

And for the die-hard British youth among you, this might not be reality - but it's a bloody brave effort at depicting it.