Traffic Review: Steven Soderbergh’s Finest Hour in the Mainstream


This is arguably director Steven Soderbergh’s finest hour in Hollywood, not only because it is the film for which he had finally won a Best Director Oscar, but alongside Erin Brockovich it helped him break into the more mainstream territory. But even as we talk about how it only continues to make him one of the most fascinating filmmakers of his own kind, it’s also amazing to think about how this film does not allow confine itself to the conventions of popular cinema at the time, because it also feels like a film that breaks down against the very system which even allowed it to get made. Soderbergh, having already established a firm ground for himself starting up a new movement of independent filmmakers with sex, lies, and videotape, has also found himself stretching beyond normal once again in a film about the drug trade.

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Westworld – Review


Westworld in itself is an interesting idea – and that’s essentially what the film rides upon. That’s really all I can say for it, because the ride that Michael Crichton’s cult film provides for oneself definitely is a fun one if also one that should have been explored much more than what is already presented on the spot. What I won’t deny though is that it is easy to see why did Westworld manage to acquire a cult following, even if the product had left such an empty feeling running through my head. Being a fan of Michael Crichton’s writing I figured that there was something set for myself to love about Westworld and in part, I got that – and the other half I just got something that almost felt somewhat lacking at the same time. Continue reading →