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Spoilers.

Changing Lanes is much more complex than the trailer leads you to believe. From the preview, you'd think it is an action fan's over-revved, simple-minded revenge thriller with lots of vehicular mayhem. Believe it or not, it does more peeling back of the layers of insulation of the affluent/powerful end of the social spectrum than any film I have seen lately. (--And not in the way the disappointingly too-pat-to-downright-absurd 'John Q' did, either.)

It's a film noir, and one of the darkest at that, full of despair, cynicism and scathing revelations about human nature. It seems to say-- or really, and this is a major distinction, to be about characters some of whom believe-- that we all make deals of personal expedience with Morality, that no one escapes life formation uncompromised and therefore able to comment on or judge anyone else's choices or actions. It's the old amoral, nihilistic/relativistic universe routine, which says concepts of fairness, justice or morality are quaintly irrelevant, that stuff just keeps happening, always has and always will, que sera sera.

My favorite scene, which was revolting and ugly and creepy as anything in any horror film you can name, is when Affleck sits down in a fine restaurant to discuss with his wife the morality of the situation he has been sucked into and is getting in deeper by the hour. He recognizes rightly that his game of oneupmanship, and win-at-any-cost has gotten insanely out of control. He is beginning to question it all, everything in his life. He comes to his wife for solace, direction, insight, a hint of moral rectitude, any help she can offer. She helps him, alright-- by saying she knows he does dishonest things (like having an affair with a woman at the office, which up until she springs that, he thought was his little secret) and that she could have had an honest husband, if that was all she wanted. --Why would she make a scene over an infidelity and risk interrupting the flow of her resources, anyway, she asks. He splits the dinner, dazed and even more desperate. In the next scene we witness him doing more of those very things he has just been having moral anguish over. (Maybe he can't recognize the feel of moral anguish at first.)

The Affleck character has a tremendous amount at stake, courtesy a pretty nifty plot hook, that keeps him up to some very dirty tricks. Sure, he doesn't want to risk interrupting the flow of his resources, either. But I think it's clear that the real reason he keeps doing crummy things is because he is a man compulsively drawn to the rewards of a destructive mode of behavior. Others gamble or drink or eat too much. Affleck works the system, lying, cheating, and treating all people like garbage. That's his high, his inescapable need. He can't quit. (Late in the film, he agrees to hire an idealistic young intern because, he laughs uncontrollably to himself, he wants to see what the intern's optimism and altruism looks like after 5 years of hard weathering by his no-rules-in-life employer.) Affleck is sick, and while he finally recognizes that sickness, he resigns himself to keep doing the same thing because, as his boss tells himself, he is willing to believe he has done more good than harm at the end of the day. The Affleck character's motivations for being extra bad, in the episode of his life we glimpse here, are strong enough to keep Changing Lanes from being just another American psycho study; it's easy to believe we could turn Affleck, given a similar circumstance in our life.

The ending is a somewhat forced positive one, but not nearly as much a sell out as is usually the case with a made-by-committee major commercial film. I give the whole enterprise 8.5 out of 10 stars.

This movie was surprisingly good, but fans of car chase sequences and the like will be extremely disappointed. The acting and directing is expertly carried out, with special praise to Ben Affleck as Gavin Banek. Changing Lanes actually explores more depth into the main characters, and how their lives will change, either for better or worse, rather than just dealing with pure and simple 'road rage'.

Samuel L. Jackson was well appointed as Doyle Gipson, and portrays his part well. One character's next move to destroy the other makes compelling viewing, and we can actually feel some sympathy for them, as we see both their emotional and compassionate side.

The story flows well as we are drawn into Banek and Gipson's desire to cause pain and hurt, not giving any thought to others who maybe affected by what they are doing. Changing Lanes is not a violent film as such, it simply explores the aspects of revenge in what could be a true-to-life measure. This is what makes it an entertaining and gripping movie that proved a winner for myself, and should do for many other film fans.

This movie was surprisingly good, for many reasons. The most obvious is probably that the characters develop before, during, and after the presented story, as the film opens at a critical time for both of them and closes with them having changed major parts in their lives.

I expected this to be a glorified version of Madd's Spy vs. Spy, or something of that nature, given the hype. However, it is not at the same pace at all... the violence is not cartoonish, its realistic. The characters are not simple, they are complex. They "have issues" and are both trying to find a better sense of balance in their lives, both do things which they regret... all in all, this is one of the most "human" movies I've ever watched.

Even though the characters are deep, the movie does not try to emphasis it with drawn out scenes with dramatic music or anything, which actually makes it more like watching real people than watching a movie. It also makes for a more powerful effect overall because it is up to the watcher to notice the subtleties.

The acting and directing are very well done, and there is some writing which surprised me in that it showed more about the characters rather than relating directly to the main conflict (I don't want to give too much detail and spoil it). The pacing is good and kept me interested throughout, partially to see what the main characters would do next and partially to see what, if anything, they would learn from the experience.

It is not as "epic" as something like Shawshank Redeption, and doesn't deal with esoteric themes such as Meet Joe Black or ominous themes such as Equilibirum or 1984(the novel), but in a way it is more epic because it deals with normal people who struggle to be beneficial humans despite major mistakes, pressures, and conflicts.

I imagined this was going to be one film from the previews I'd seen, but in reality it turned out to be another - a far more subtle experience than I had expected. A lot of the people in the packed theatre where I saw it apparently expected that other film too; they seemed disappointed when they'd left - they'd probably been expecting yer basic escalating violence, with us cheering for Jackson as the good guy and Affleck as the bad. Not a black and white movie (no pun intended), more of a karma sort of thing, with the two main characters learning from each other in ways they never realized they would (or needed to). And heavy-handedness is nowhere to be seen. Kudos for that alone.

Now, I'm not going to slap this movie on my Top 10 list or say it deserves an Oscar nod, like many critics have exclaimed, but I will say it's something different. First of all, it's real. Not an artificial Hollywood shoot 'em up or disaster flick. This is a film about the human struggle. There's no violence or sex, and if it weren't for about 7 uses of the "f" word "Changing Lanes" could've easily earned a PG-13. So don't let the R-rating fool you.

There are three main reasons why I checked out this movie: Samuel, L, Jackson. Needless to say, he's a terrific actor and worth seeing in whatever he does. He's one of my favorites, and he delivers another powerhouse performance, taking on a role somewhat different from his recent roles: he plays an average Joe. We're introduced to his character, Doyle Gibson, who's a very nice guy simply haunted by mistakes in his past, one being alcoholism, which led to a divorce. And now he's attending AA meetings and buying a house for his two kids, hoping he will attain custody of them. Ben Affleck is good and charismatic. I didn't sympathize as much with his character, but that doesn't make him an antagonist. Neither characters are saints, nor are they sinners. That's good, because it's never completely effective to include characters who are entirely sympathetic. They're both mature adults, but they resort to juvenile acts of revenge in hopes that they can undo what happened. Sydney Pollack is great, as Affleck's egotistical father-in-law, proving his talents in front of the camera are just as fine as his talents behind the camera. I wanted to see more of the beautiful Amanda Peet, but she only has approximately 7 minutes of screen time. So I'm guessing that topless scene I heard mentioned didn't make it to the final cut. Oh, well. William Hurt, who seems to do a movie every 5 years, unfortunately has a small, thankless role as an alcohol counselor.

The script is well-written, and the film is a lot more character-driven than ones of recent years. I loved that scene in the bar where Sam Jackson sits in a lonely bar, listening in on two white guys badmouthing Tiger Woods. He lashes back with a terrific monologue, and later ends up punching them out. Some directors would've cut that scene out, overly concerned about the film's pacing, but I'm glad this time that wasn't the case. However, the ending seems a little fake. It's just too happy for its own good. But that's the only element of the movie I found forced.

My score: 7 (out of 10)