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The bright red emergency phone call box on has been open for 1yr, making it easier for those involved in incidents to contact emergency services faster. People need only to open the box & follow the instructions.

For drivers headed east toward here's a look at the current conditions. Be sure to be prepared with emergency supplies in case you get stuck with the winter conditions that are affecting our roads.

: Hwy 11 s/b near Coldwater Rd Single Vehicle Rollover , Emergency Crews are on scene

RT : This will help get TRAFFIC to your Fiverr Gig ➸ reTweet please fiverr bizhour

Derby. Driving by and this Golf is racing round a car park and pulls a handbrake turn. Driver denies it, thinks about it, then admits it. S59 warning - if him or the car are seen in similar circumstances again, it gets seized.

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Made with Instagram

1970 A.D. - The Best Rock Albums


Untitled by Edward Lepine
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Boul. de Maisonneuve and rue Park Row West. June 28, 2018.
सावधान | Signal पर यमराज | #Indore | #TrafficSignal | Talented India News
आमतौर पर यमराज शब्द सुनकर या तो हम सहम जाते हैं , या डर जाते हैं , लेकिन सड़क पर हमारी एक गलती हमें यमराज से तुरंत ही मिला सकती हैं । यही सन्देश देने के लिए ...

आमतौर पर यमराज शब्द सुनकर या तो हम सहम जाते हैं , या डर जाते हैं , लेकिन सड़क पर हमारी एक गलती हमें यमराज से तुरंत ही मिला सकती हैं । यही सन्देश देने के लिए गुरूवार को इंदौर की सड़कों पर यमराज निकले । देखिये कैसे यमराज ने यातायात के नियम समझाए

David’s Resolution - Day 7

Day 7 (January 7, 2019)

Traffic (2000)

“Well, you’ve done a fine job, General. The Office of National Drug Control Policy is in better shape than when you found it.”
“I’m not sure I made the slightest difference. I tried. I really did.”

Making a movie about why drugs are bad and why you shouldn’t do them is easy. You don’t even need the length of a movie to do it, unless you really want to go into the nitty gritty about it like Darren Aronofsky. But then you have Traffic, which is about drugs but also not about drugs.

The film is adapted from a late 1980s British miniseries called Traffik and directed by Steven Soderbergh, a filmmaker who got his big break in the late ‘80s with his debut feature sex, lies, and videotape (which will be reviewed soon). He had a busy year in 2000, directing both this film and Erin Brockovich, which were both nominated for the Academy Award for Best Picture. Traffic won, in case you’re curious. But enough about Soderbergh, I’ll talk more about him when I get to sex, lies, and videotape. Back to this movie.

Like the miniseries it’s based on, Traffic follows multiple storylines that explore the War on Drugs on various levels and in various ways. The first story we see is what we’ll call the “Javier” story, which focuses on Mexican cop Javier Rodriguez (Benicio del Toro, in the role that earned him Best Supporting Actor and for damn good reason). The film opens with him and his partner Manolo doing a drug bust, only for them to get intercepted by the military, who pull a “we’ll take over from here” and handle the criminals and drugs themselves. Javier, who is a slightly crooked cop but otherwise more moral than most, is soon recruited by General Salazar, the official responsible for the confiscated bust at the beginning of the film, to help him bust the cartel that’s operating in the area, which gives Javier concern about the people he’s working with and what their intentions really are…

The next one we see is the “Wakefield” storyline, which follows Robert Wakefield (Michael Douglas), an Ohio state judge who is chosen as the new “drug czar” to head the War on Drugs. As he travels the country learning more about the War and the drug trade and how it works on every level, he has his own personal war to deal with: his daughter Caroline (Erika Christensen), an honors student in a good private school, is a habitual drug user who quickly becomes an addict after her boyfriend Seth (Topher Grace, back when we knew him as Eric Forman in That ‘70s Show) introduces her to freebasing. It isn’t long before Caroline goes into a downward spiral and Wakefield does what he can to help his daughter, and his personal struggle will have an effect on his new job and how he’ll carry it out.

And finally, there is the “DEA”/”Ayala” storyline, which follows three central figures: DEA agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzmán), who bust drug dealer Eduardo Ruiz (the late and great Miguel Ferrer), which leads to the arrest of his boss Carl Ayala (Steven Bauer). As Ruiz is set to testify against Carl, Carl’s trophy wife Helena (Catherine Zeta-Jones) is placed in a difficult situation. With her financial security and her family’s security at risk - she has a young son and is several months pregnant with another child - she’s desperate to do whatever she can to help her family and her husband, even after she learns from his lawyer (Dennis Quaid) that her husband is a drug lord. And all the while, Montel and Ray are trying to do what they can to incriminate Carl and put him away.

I’ll talk more about these three storylines on their own, but first I’ll talk about the film as a whole. Visually, the film looks amazing, with Soderbergh using distinctive color grading for each story to make them unique and to help tell them apart - washed-out yellows for the Javier storyline, cold blues for the Wakefield storyline, and warmer natural colors for the DEA/Ayala storyline. The idea of using distinct film colors for storytelling actually goes back to the days of silent cinema, where different film colors were used based on setting, mood, etc. to inform the audience of what’s happening.

The cinematography is also remarkable. Soderbergh did all the camerawork himself (his work as DP is credited under the name “Peter Andrews”) and the camerawork is just as striking as the color grading. It gives the film a documentary feel, which helps make it feel more real by giving us the perspective that we’re actually watching real life unfold, not just a scripted story. There are some more “cinematic” moments in the film, like the suspenseful sense of one character being targeted by an assassin, but it doesn’t really take away from the documentary feel and still feels like it fits the overall tone. I also want to give a shout-out to the music by Cliff Martinez. There isn’t much music in the film, and what music it has is ambient and atmospheric, but it fits perfectly with the film.

Now the storylines themselves. …Actually, I don’t know if I’m the kind of person who should be talking about this movie. This feels like the kind of movie that’s better suited for someone more experienced and knowledgeable about film to talk about. I think I may be in over my head, and I feel this way seven days into the resolution. Fuck. …I guess I’ll do my best to talk about why I like them in short without this being a bigger wall of text then it is already.

The Javier storyline, to me, feels like it’s the moral core of the story. Javier’s story is about a man who is surrounded by corruption and people trying to profit off of their morality, whether the lack of it by being part of the drug problem, or embracing it by trying to tell the truth and ending up getting killed. In a position where doing the right thing can and will significantly shorten your lifespan, it makes one question what to do. And Benicio del Toro handles this expertly. He earned that Oscar.

The Wakefield storyline is powerful stuff. The whole story is about a person who has to confront the personal effects of drug abuse and how it affects not just the abuser, but those who are close to them. It’s heartbreaking to see an honors student with a great record (a record that was very similar to writer Stephen Gaghan’s own high school record) fall into drug addiction, and the sad part is that this does happen in real life. And this is balanced with Wakefield’s learning more and more about the War on Drugs and simultaneously seeing the futility and necessity of the War. And the ending of this storyline, while kind of happy, is also ambiguous for reasons that will make sense once you see it.

The DEA/Ayala storyline is about desperation. Helena, a pregnant mother whose life and security are threatens, is desperate to do anything to protect her family and help her husband, and in that end becomes part of his lifestyle whether she wants it or not. And Montel and Ray are desperate to protect Ruiz and make sure he’s able to testify against Carl Ayala, especially as others want him dead. The lengths they go for their goals are fascinating to watch, and I won’t say how it all ends.

I highly recommend this movie. Just go see it. I think it’s better to see for yourself why this movie is great and what makes it work. Like I said, I’m not the best at talking about a movie like this and I don’t think I’m the right person to talk about it. So rather than hearing me try to explain it, it’s better to see it for yourself.

Next time: How many sermons will this psychopath preach?