“Traffik” came to Patton through her friendship with Codeblack Films Chief Executive Jeff Clanagan, whose company partnered with Lionsgate in 2012 to release films targeted at African American audiences. I don’t want to just do it if it’s just work. And to do both I feel like I have to love what I’m doing. “At the end of the day the weird thing about what we do is that it’s work and art.
I want to be inspired and I want to hopefully do work that moves people as well,” Patton said. “At this time in my life I want to be moved.
But nowadays, the 42-year-old actress says she’s interested only in roles that excite her. She also landed in blockbuster titles both successful (2011’s “Mission Impossible: Ghost Protocol”) and not (2016’s “Warcraft”). The game and energetic Patton makes it for the most part watchable, but she can’t make you take any of it seriously.A critically acclaimed turn in the Oscar-nominated film “Precious” proved to be another breakthrough, and Patton went on to headline a pair of rare rom-coms marketed toward black audiences (“Baggage Claim” and “Jumping the Broom”). The canned-sounding electronic score doesn’t help much either.įundamentally, this is both a female empowerment yarn and a victimization tale wrapped up in one less than convincing package.
But while Patton almost single-handedly makes you want to take the film a little more seriously than is in any way warranted, it’s impossible to do so on any level, so fundamentally based is it in stock characters, hackneyed suspense cliches and predictable notes reliably struck. But then things get worse thanks to a hard-ass chief of local police ( Missi Pyle in a delectably malevolent turn) who’s got a lot more going on in her life and career than her official uniform suggests.Įven when presenting a veritable hell on Earth, where Brea eventually does arrive, Taylor and Spinotti make it look snazzy. It’s cat-and-mouse through the woods at night for a while, as a panicked Brea scurries through the underbrush to get to safety. And not far behind are the bad boys, whose leader (Luke Goss) predictably initiates a slaughter that eventually takes down a fair percentage of the cast.
TRAFFIC MOVIE 2018 FULL
First comes a sketchy gal (Dawn Olivieri) with whom Brea had a weird encounter at the gas stop and whose phone full of photos of abused and unhappy-looking women Brea unaccountably finds in her possession. But while we’re waiting, writer-director Deon Taylor ( Supremacy, Meet the Blacks ) indulges in some scenic swimming pool hanky-panky that serves to put Brea in just the right mood, which is broken when the impulsive Darren annoys John to no end by showing up unannounced with his lady friend Malia (Roselyn Sanchez) just as John prepares to pop the question.īut Darren is more than welcome compared to the visitors who turn up next. After John and Brea, who are black, have an altercation with some scuzzy white bikers at a gas station, you know it’s only a matter of time until the bad ol‘ boys turn up to give the city folk a very bad time, indeed.
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