7.1/10
21,125
163 user 44 critic

Human Traffic (1999)

R | | Comedy, Music | 5 May 2000 (USA)
Five friends spend one lost weekend in a mix of music, love and club culture.

Director:

Justin Kerrigan

Writer:

Justin Kerrigan
Reviews
Popularity
4,881 ( 831)

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9 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
John Simm ... Jip
Lorraine Pilkington Lorraine Pilkington ... Lulu
Shaun Parkes ... Koop
Nicola Reynolds ... Nina
Danny Dyer ... Moff
Dean Davies Dean Davies ... Lee
Peter Albert Peter Albert ... Lulu's Uncle Eric
Jan Anderson ... Karen Benson
Terence Beesley ... Moff's Father
Sarah Blackburn Sarah Blackburn ... Jip's Ex #2
Anne Bowen Anne Bowen ... Moff's Grandmother
Neil Bowens Neil Bowens ... Asylum Doorman
Peter Bramhill Peter Bramhill ... Matt
Jo Brand ... Reality (voice)
Stephanie Brooks Stephanie Brooks ... Fleur
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Storyline

The Cardiff club scene in the 90's: five best friends deal with their relationships and their personal demons during a weekend. Jip calls himself a sexual paranoid, afraid he's impotent. Lulu, Jip's mate, doesn't find much to fancy in men. Nina hates her job at a fast food joint, and her man, Koop, who dreams of being a great hip-hop d.j., is prone to fits of un-provoked jealousy. The fifth is Moff, whose family is down on his behavior. Starting Friday afternoon, with preparations for clubbing, we follow the five from Ecstacy-induced fun through a booze-laden come-down early Saturday morning followed by the weekend's aftermath. It's breakthrough time for at least three of them. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

The Weekend has Landed! See more »

Genres:

Comedy | Music

Motion Picture Rating (MPAA)

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

Parents Guide:

View content advisory »
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Details

Official Sites:

Official site

Country:

UK | Ireland

Language:

English

Release Date:

5 May 2000 (USA) See more »

Also Known As:

B oтрыв! See more »

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Box Office

Budget:

£2,200,000 (estimated)

Opening Weekend:

£434,261 (United Kingdom), 6 June 1999, Limited Release

Opening Weekend USA:

$10,595, 7 May 2000, Limited Release

Gross USA:

$104,257, 21 May 2000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

When Jip first picks up Koop in his car you here the radio broadcast of BBC's Radio One. The MC is Pete Tong, who is the movie's Music Supervisor. Pete Tong actually did have a weekly radio show on Radio One. See more »

Goofs

When Jip talks to the manager of the Asylum, Jip asks to use the phone to call his assistant. While he is on the phone, the camera flicks back the manager. In this shot, the phone Jip is supposed to be calling on is clearly visible in the foreground, still on the hook. See more »

Quotes

Moff: See ya later Pete, no one gives a fuck about ya.
See more »

Connections

References Trainspotting (1996) See more »

Soundtracks

College of Dreams
Written by John Beltran
Published by Peace Frog Music
Performed by John Beltran
Licensed courtesy of Peace Frog Records
See more »

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User Reviews

Accurate portrayal of club culture, the highs and the lows
4 October 2004 | by DrLeneraSee all my reviews

Making a film about the 'chemical generation', those who live for the weekend, must have been a very hard enterprise. It would have to accurately reflect the lives and experiences of 'clubbers' and also appeal to a wider audience. Human Traffic just about achieves that.

It is certainly spot on in with it's observations and in it's accuracy. It's obvious the filmmakers have 'been there and done it'. If you are or were once like the people in this film, than there is so much to relate it. It's all there, often depicted humorously but not condescendingly. The fake euphoria of being on 'E'["in the end ,I just want to be happy, yeah ,that's it.....hang on, what the **** was I talking about?"]. The monged conversation at 4 am which seems deep and meaningful but is basically rubbish [ Star Wars being about drugs!]and gets more and more incoherent. Exchanging pleasantries with someone you only see in pubs and clubs and really can't stand. 'Coming up' suddenly at the same time as someone else and mumbling to each other what you're 'on' at the speed of light. Reminiscing how it was better in the 'old days' and is now too commercial and widespread. Doing it all for the first time and going off with a bunch of dodgy geezers who are suddenly your best mates. The thrill of finding the after party. The depressing, inexorable sense of returning to the reality.

The film's attitude to drugs is commendable, drug taking is simply something the characters do, and that's all. Nobody dies or is seriously ill ,and yet there is a sense that it doesn't really lead anywhere. "After all ,we'll not going to be doing this for ever, are we" says one character at the end.

The film falters a little when depicting the lives of it's protagonists. For many scenes, director Justin Kerrigan uses a kind of 'heightened reality', for instance in a scene when a character comments on how the workers in a fast food place are like robots and for a moment they 'become' actual robots. This approach does not always work, and it's a shame since the characters are all the sort you could expect to run into on a Friday night. We do care a bit about their respective lives and problems, but we don't really get to know the female characters properly, and what is really the main thrust of the plot, the blossoming romance between two of the main protagonists, is dwelled on too much and is somehow unconvincing,if sometimes quite sweet. The acting is generally OK if not great.

Human Traffic is not as important a film as, say, Trainspotting, which despite being about heroin addicts seemed to speak to a generation. Nonetheless, it's a truthful depiction of an element of society which films and TV either ignore or condescend to. Incidentally ,there are two versions, the director's edit and the later producer's edit. The latter, which cuts some footage, changes some music and adds some silly CGI, is inferior to the former.


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