Changing Lanes is fundamentally about two men who do bad things but are trying to do better. The main difference is that one is endorsed by society -- Ben Affleck's wall street banker -- and one isn't -- Samuel L. Jackson's alcoholic deadbeat dad. This difference in their social stations drives them into a conflict that causes both of them to revert to their worst impulses.
As much as it offers ordinary revenge thrills, Changing Lanes is notable for recognizing the complexity and inequality of our social structure, which dominates even the most powerful of the characters in the film. Even the most obvious villains have reasons for their actions, and one can see how they're pushed into playing out their social roles. At the same time, it's not entirely deterministic -- there are right things to do, but they're difficult, usually involving hurting someone or giving up on some principle or another.
Affleck acquits himself relatively well, although he's still Ben Affleck. Jackson is predictably great, as this is back when he still sometimes cared, and Amanda Peet is fantastic in a brief but memorable role as Affleck's amoral wife. Of course, the film is more than a bit melodramatic, with things escalating to a ridiculous extent over the course of one day, and the attempt at reforming Affleck's character towards the end feels a bit forced. It's still a mainstream Hollywood drama, and never really deviates from that style. But it's better than most such dramas, and is in the end a nice film that's been already forgotten as part of the ebb and flow of popular cinema. That forgetting is kind of justified -- it certainly won't go on anyone's best-ever list, resting as it does in the realm of the merely above-average -- but it's still worth a couple hours of your time.
As much as it offers ordinary revenge thrills, Changing Lanes is notable for recognizing the complexity and inequality of our social structure, which dominates even the most powerful of the characters in the film. Even the most obvious villains have reasons for their actions, and one can see how they're pushed into playing out their social roles. At the same time, it's not entirely deterministic -- there are right things to do, but they're difficult, usually involving hurting someone or giving up on some principle or another.
Affleck acquits himself relatively well, although he's still Ben Affleck. Jackson is predictably great, as this is back when he still sometimes cared, and Amanda Peet is fantastic in a brief but memorable role as Affleck's amoral wife. Of course, the film is more than a bit melodramatic, with things escalating to a ridiculous extent over the course of one day, and the attempt at reforming Affleck's character towards the end feels a bit forced. It's still a mainstream Hollywood drama, and never really deviates from that style. But it's better than most such dramas, and is in the end a nice film that's been already forgotten as part of the ebb and flow of popular cinema. That forgetting is kind of justified -- it certainly won't go on anyone's best-ever list, resting as it does in the realm of the merely above-average -- but it's still worth a couple hours of your time.