7.6/10
176,505
874 user 225 critic

Traffic (2000)

A conservative judge is appointed by the President to spearhead America's escalating war against drugs, only to discover that his teenage daughter is a crack addict. Two DEA agents protect an informant. A jailed drug baron's wife attempts to carry on the family business.

Director:

Writers:

(miniseries Traffik), (screenplay)
Reviews
Popularity
2,536 ( 21)

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Won 4 Oscars. Another 69 wins & 83 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Andrew Chavez ...
Desert Truck Driver
...
Desert Truck Driver
...
General Arturo Salazar
...
Salazar Soldier / The Torturer
...
Salazar Soldier #2
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Lawyer Rodman
...
...
Clerk
Lorene Hetherington ...
State Capitol Reporter #1
Eric Collins ...
State Capitol Reporter #2
...
DEA Agent - CalTrans
Peter Stader ...
DEA Agent - CalTrans
...
DEA Agent - CalTrans

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Storyline

An intertwined drama about the United States' war on drugs, seen through the eyes of a once conservative judge, now newly-appointed drug czar, his crack-addicted daughter, two DEA agents, a jailed drug kingpin's wife, and a Mexican cop who begins to question his boss's motives.

Plot Summary | Plot Synopsis

Taglines:

No One Gets Away Clean See more »

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for pervasive drug content, strong language, violence and some sexuality | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

|

Release Date:

5 January 2001 (USA)  »

Also Known As:

Traffik  »

Filming Locations:

 »

Box Office

Budget:

$48,000,000 (estimated)

Opening Weekend:

$15,517,549 (USA) (5 January 2001)

Gross:

$124,107,476 (USA) (6 July 2001)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (rough cut)

Sound Mix:

| |

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

When a critic commented that it seemed unrealistic that the daughter's high school record was almost perfect when she was taking drugs, screenwriter Stephen Gaghan pointed out that the high school record in the movie was his and that he had been abusing drugs at the time. See more »

Goofs

Francisco Flores has distinctive wounds on his left cheek and forehead when first shown in surveillance photos, but those wounds are only visible after he is tortured by General Salazar's men, long after the photos were taken. See more »

Quotes

[first lines]
Javier Rodriguez: [in Spanish] Last night I had an ugly nightmare.
Manolo Sanchez: [in Spanish] Oh yeah? What happened, man?
See more »

Crazy Credits

There are no opening credits except for the film's title in the lower left corner. See more »


Soundtracks

Going Under (Love & Insanity Dub) - K&D Sessions
Written by Glyn Bush, Richard Whittingham and Patrick Plummer
Performed by Rockers Hi-Fi
Courtesy of Warner Bros. Records Inc./Warner Music Company
By Arrangement with Warner Special Products
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Technically great, acting's great, the whole damn thing's great

It certainly has been a good 12 months for director Stephen Soderbergh, hasn't it? Erin Brockovich, probably the most underrated film of last year, eventually got the recognition Soderbergh, Roberts +Co deserved, as did this film, a chilling account of drug trafficking in North and Central America. As seen in 'Erin Brockovich', Soderbergh often deals with people under immense pressure, and this is quite evident here, telling the story of a new US drug control officer (Michael Douglas) whose daughter is rapidly becoming a drug addict (Erika Christensen). It also shows us the struggles of a drug trafficker's society wife (Catherine Zeta-Jones), whose husband is facing a conviction, and also that of a cop accused of corruption. The direction is superb throughout, speaking in tones, very believable tones, and contrasting atmospheres. The portrayal of Mexico, as a behind-the-scenes nightmare world of seediness, humidity (you can almost FEEL the heat) and as a place where one murder matters not, is handled excellently, Soderbergh quite cleverly using sepiatones to convey the mood. This high standard, which is often difficult to maintain in a movie of its length (2 ½ hours) is maintained, and while at times it borders on arty, it is done thoughtfully, incisively and effectively, the scenes of importance delivered in tense, muted tones. Javier Rodriguez's (Benicio Del Toro) character and personality is both strong and incredibly well-acted - the quiet, thick skinned yet razor-sharp mind suiting his environment perfectly, and his acting is often crucial to the moods set in the film, for example in creating the tense, unearthly atmosphere of Mexico. This quiet confidence is also a key part of one of the film's many underlying messages, namely a study in resourcefulness and where it gets us, particularly in Catherine Zeta-Jones' character, a trophy wife of a drug trafficker who is under arrest. Resourceful as she is, it takes her down the darkest and lowest moral alleyways, and this can be compared to 'Erin Brockovich', where another stressed woman used a different kind of soul and fighting spirit to get results. This film also deals with family life, and the movie cliché of 'daddy never being around' is handled exceptionally well. This time the daddy is the newly-instated drugs officer (Michael Douglas) fighting drugs on two fronts: the Mexican Border and his own home, as he struggles to keep his adolescent daughter on the straight and narrow. The characters are all strong and well acted, I can't put my finger on a single bad performance, but Benicio Del Toro is by far the best on show and his Oscar was well deserved. Michael Douglas proves again that he's a class act, as does Catherine Zeta-Jones and strength in depth is clear all round. All in all, then, a great film, combining good acting, clever psychological undertones and classy direction, which particularly stands out. Combining an ability to keep us interested with the snappy, modern style which he has brought to the movies today - this film is a gripping account and a very comprehensive display of Soderbergh's impressive arsenal of film knowledge, understanding and talent.


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