User reviews

I've just rewatched this through eyes half closed after about 10 years and can confirm it's still a brilliant snapshot of the time. Brilliant soundtrack. Sweet, funny, flawed characters. Peeking into drug and party culture in the late 90s. A lovely little journey (dare I say trip?) to nowhere in particular and back.

Every time I watch this film, it just really makes me wanna go out and have a good night! My mate uses "the weekend has landed" speech to psyche himself up before going out! and so do I...sometimes.

This film is a great debut for the writer/director - well done mate!

The acting is great, all the characters are believable and are larger than life! The 'weird' scenes are a joy to watch, Jip's running Mr floppy flashbacks/explanations/visualizations are all great! The scene in the huuuuuuuge pub when everyone stands up and starts singing the mock national anthem is a laugh too. There's loads of comedy here - Howard Marks' 'spliff politics' speech is hilarious!

Oh god, you just need to see this. Mind you, I felt the film did somewhat glorify the use of ecstacy, but hey, that's the truth of the matter eh? At least the film doesn't shy away from this fact. I suppose the film does carry a decent message to it as well - don't take life TOO seriously, you have to let you hair down sometime. And of course the chat in the pub when Moff tries to explain to his mates that he's coming off the drugs is a sure reminder that when the come down's out-way the good times, you know the party's over!

This is at times a very clever film in it's use of the camera, lighting, etc. It was a realised piece of cinema, and a great feel-good tale of mates, love, clubs, and drugs.

Get outta the 'rat race' people!!!

8/10

Enjoy!

It is Cardiff in the late nineties; five friends head out for a weekend of drugs, alcohol, sex and clubbing. Through the Ecstacy-induced high to the alcohol-assisted comedown to the feelings of the morning after, their lives are on the brink of changing forever When 'Human Traffic' was released, many critics claimed that this was the last great British film of the nineties – and how right they were. This film is so inherently a nineties movie, it's like opening a time capsule. To be young was to be a clubber; to be living for the weekend, when mixing alcohol with drugs was a given. Writer-director Justin Kerrigan captures that oxymoronic feeling of immortality and insecurity beautifully, through five characters that complement each other so well.

Obviously, the success of the characters hinges entirely on the success of the actors, and what 'Human Traffic' also gives you is a snapshot into what would (and could) become the future of British cinema. Top of the pile is John Simm, who went on to achieve well-deserved acclaim for Life On Mars. This is arguably his breakthrough performance, and he's a joy to watch.

But, in my honest opinion, the plaudits need to go to Danny Dyer. For those with a decent knowledge of Dyer will know that he is mostly known now for playing really rubbish characters in really rubbish films. But in 'Human Traffic', he is brilliant. The character of Moff isn't the nicest – he is hooked on drugs, isn't overly intelligent, and is desperate for friends – but Dyer imbues that unlikeable character with a childlike innocence which you warm to. It's by far the best performance I've ever seen from him, and makes me realise why he managed to keep a career going. The rest of the cast is made up of actors who have since faded into the distance; which, to be honest, isn't surprising as the performance levels don't match up to Simm and Dyer. While everyone has moments of good work, it is never quite as consistent. I feel like there were better young actors at the time who could have done a better job.

You could argue that the film is a bit dated, and it's not a bad argument to make. Obviously, the youth of the nineties is a lot different from the youth of today. But for those who were part of the nineties generation, 'Human Traffic' provides the same feeling of nostalgia that 'Trainspotting'. Both are films stuck in time, but not in a way that hurts them. 'Human Traffic' is a love letter to the nineties, and well worth a watch.

Director: Justin Kerrigan.

Justin Kerrigan - this time you've really done it. Human Traffic is going to upset the majority of film critics who will view the lack of plot, the drug induced dialogue and the futile outlook on Nineties Youth culture as a miserable and desperate view of how weekends are spent by ravers and clubheads across the UK. Moreover, they will spot camera work borrowed from Boogie Nights and even try and associate the whole film with 'Trainspotting' theme (because, lets face it, a Scottish Heroin addict trying to clean up his act and a Welsh clubber looking for a good time with his mates is pretty much the same thing, right?)

Well wrong. Human Traffic has landed - along with one and a half quality hours of clubs, drugs, pubs and parties - and its time to leave behind your preconceptions of what a film should be like (where's the plot? I want a plot!) and instead delve into the lives of Jip (John Simm) and his mates, Nina (Nicola Reynolds), Koop (Shaun Parkes), Lulu (Lorraine Pilkington) and Moff (Danny Dyer). There's nothing special about these five friends; they're just hanging out together and showing you the way they lead their lives. They are not Burger King. They certainly don't do it your way. And you don't like it - well, tough.

Because essentially this period piece has captured everything that Nineties youth culture is revolving around. There are no clear solutions, in fact very few problems in the first place. At the end of the day, what Jip and his friends are doing is living and who are we to know or comment on anything different? They drink, smoke dope, pop pills and party; they know the risks and they're prepared to take them and moralists will just have to sit back and (try to) enjoy the ride.

The sound track is terrific and accompanies the highs and lows of the 48 hour weekend and the events that take place in it. But within this, what first appears to be social unity, we see traces of individual isolation that are easy to bypass in a culture of hedonism. Jips paranoia of sex, Koops jealous possession of Nina and Moff as his drug habit digs him deeper into his own hole and further away from his family, asks the question 'are things really this good?' However they will not be exaggerated to the extent that they are conspicuous, giving the film a controversial stance on drugs and the role in social integration. Kerrigan is pulling no punches. And why should he? This isn't GO! or any other such American rave film with clear cut margins and please-the-crowd conclusions - it is one that forces us to question whilst at the same time enjoy the at times hilarious, touching and other times exciting events of 48 hours with a group of five 'friends'.

And for the die-hard British youth among you, this might not be reality - but it's a bloody brave effort at depicting it.

This film was hilarious. It provided a somewhat comical view of the British club scene, which, if you really look at it, is a funny thing. The characters in this flick were so realistic to those of us who watched here at my place that it was like watching a movie about ourselves.

There were a few pivotal scenes which really made this movie work: the getting ready scenes; the "Get me a real doctor" scene; the white background scene showing each character in a total state of being wrecked, ending with the infamous line "what was i saying?" and the comedown-sunup scenes. I have lived these moments myself and found myself laughing hysterically at my own ridiculous behaviour.

I can't give this movie a 10 because it doesn't measure up to Groove, which I thought was out of this world, but it certainly has its moments. The mise-en-scene and the camera work is superb, the special effects are well worth mentioning, and the acting is fantastic.

After waiting a long time to see this film, I am glad to say that I was not disappointed. I hope to see more from the writer/director in the future.

Of it's time. Not much of a story, more of a mood, the people, the situations, 90s club culture. If the characters seem annoying, it's because they were - portrayed by some future big-name actors. Probably very nostalgic to those who participated, more of an insight to those who didn't, and a document of its time. Clearly inspired by Trainspotting, which is an incomparably better film, but with enough originality to make it stand up on its own.

I have a completely biased point of view mainly because I live and enjoy the club culture lifestyle. Being a DJ and frequent club goer I see the honesty within this movie and I love it. If you don't know the club/rave culture then it will be a great foray into that culture for anyone that doesn't know it first hand. The honest portrayal of human emotion and issues in the part of Jip I loved. The characters were well constructed and I thoroughly enjoyed this film. I really don't enjoy the fact that you have to write ten lines on this web site. I will write at least 6 or 7 but i feel that i can portray my point with fewer than ten. Here are some extra lines to make the IMDb gods happy.

Made with a budget of £340,000, Human Traffic has become a cult classic since its release. An interest and very surreal piece of film making set in the capital of Wales.

Human Traffic focuses on a group of five friends, Jip (John Simm), Lulu (Lorraine Pilkington), Koop (Shaun Parkers), Nina (Nicola Reynolds) and Moff (Danny Dyer), a combination of wage slaves, unemployed people and a student. All of them suffer from person troubles, Jip's mum is a prostitute, Koop's dad is in a psychiatric ward, Moff is in content conflict with his dad and Lulu has relationship problems. The gang to blow off some stream by having one wild weekend of clubbing to dance and techno music, drinking and consuming drugs, particularly ecstasy as Jip and Lulu discover their feeling for each other.

Human Traffic is a very surreal film, with a big of number of fantasy sequences. These scenes felt very much like a dark version of Scrubs, from Jip having an argument with an imaginary punter in his car, talking to someone thinking about taking drugs for the first time in a classroom and it was all pretty funny. Jip also broke the fourth wall, which reminded me of Saved by the Bell, weird.

Director Justin Kerrigan knows where to place to place the camera and he does make a stylist film. But there is not much of a plot, it is simply about a night out. The atmosphere in the club did fill real and people ho enjoy techno music will like the soundtrack. I also enjoyed the nonsense that druggies speak in this film.

John Simm is a talented actor and he was easily the best actor in the film. He is really does inhabit his role. The other actors were fine, even Danny Dyer haters can not complain about him here. But there is not too much to write home about either.

This made me laugh, reminisce, laugh some more and doff my hat.

This film is pure genius. It is so expertly written and captures the essence of what is was like growing up in the late 90s.

It switches from one scene to another with expert ease and timing. Each scene is so well thought out, and each scene captures perfectly a moment or thought process we all can remember or relate to.

The writing is so good, and this film is funny, so so funny. It is also a love story, that goes under the radar for most of the film, but again, it beautifully captures what love at such a young age is.

Enjoy!

My friend was telling me about this film saying its similar to GO. Now not being a real clubby myself I must say this wasnt my taste, although some things were very educational. Like all the drugs that are used in the film itself.

Great Party scenes in both the nightclub and house party. But sorry it didnt grab me as a masterpiece.

I've watched this so many times and it always delights.

A journey of one of your best nights out, capturing all elements perfectly.

Funny reading critics' reviews. If you've not been there and worn the T-shirt then you just don't get it. And that's what makes this so good - it speaks to those who have had nights like this.

Funny, fantastic music and certainly not Trainspotting lite as some plonker of a critic called it - they're completely different films about entirely different topics.

Human Traffic won't be enjoyed by the masses but for those who it resonates with it is one to be watched over and over.

Human Traffic successfully captures a moment. Both the anxieties of the time and the simple pleasure of getting to the weekend after an awful week at work. It has luls between its laughs but overall it has enough jokes to sustain itself and the constantly playful nature of everything is the film's greatest strength.

John Simm has a near infinite amount of energy here with loads of paranoia that makes him an endearingly vulnerable lead. He has a believable chemistry with the group (especially Lorraine Pilkington & Shaun Parkes) plus his paranoid tangents are almost as fun as Danny Dyer's hyped up rants, the Star Wars ones being the best.

Justin Kerrigan's direction always finds fun and inventive ways to structure the scenes. Almost every scene is made better by the way it's staged with a handful of fourth wall breaking character introductions, a sing along musical number, and some surreal flourishes that allow the cinematography by Dave Bennett to really shine.

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.

I love this movie just as much now, as I did 20 years ago!! Bringing back so many memories!!!!

I absolutely love this film. Everything about it. It almost felt like watching me and my friends on screen. The way this movie was filmed was a pure masterpiece, very original and creative. I related to these characters and even had the same thoughts as some. I'm really glad I ran across this movie. If only there were more genius' like justin out there!

Cardiff, Wales. A bunch of 5 mates are deeply bored in this town. There's Jip who works in a clothes shop. Coop, an easy-going DJ. Nina, inseparable from her best friend Lulu and Moff. The week is hell for them and they only wait for one thing: the week-end. At this time, they got out to a nightclub and to the sound of tech no music, they experience different drugs, particularly ecstasy. Then, they usually continue the party to a friend's. At the end of this really good time on Sunday, the feelings are the following ones: tiredness, melancholy, just the memory of a crazy night...

Surfing on the wave of the notorious success of "Trainspotting" (1996), this debut movie written and directed by Justin Kerrigan brings and develops a new variation about the notion of hedonism. It means: how to have fun as much as possible while knowing that you have a shortened lapse of time. Indeed, as I have previously written, for the 5 main characters of the movie, the week is hell and the weekend is the only time they can free themselves and have a wild time without the single pressure (besides, Jip in one sequence talks about the positive aspects of shooting oneself: you are numb, you don't feel any pressure, you are like an astronaut in orbit above the earth. Kerrigan's relentless directorial style expresses very well the spirit of debauchery and care freeness of the 5 protagonists. They only live to take advantage as much as possible of an hedonist week-end. Furthermore, to spice up a little more the festive atmosphere in which his movie bathes, Kerrigan isn't afraid to include dreamlike sequences which represent his characters' fantasy or embarrassments. Then, "Human Traffic" (1999) is also served by a particularly bouncy sound track. The amount? A perfect symbiosis between the sound and the music. At last, this week-end of euphoria enables to shelve momentarily the usual drab image of the popular social classes, British cinema has studied a lot.

Notwithstanding, when a movie (conscientiously or not) exploits the fame of another famous one, it rarely matches the brilliance of its predecessor. "Human Traffic" is in this condition. There's little inventiveness at the level of the narrative structure and the introduction of the characters and one can note down a few useless digressions (Jip who, in the nightclub goes in the manager's office and tells him a cock-and-bull story so as to enable Moff to enter the club but that's no use because the latter succeeds in coming without problems). One can also blame Kerrigan to overlook the dramatic sides that the story could have involved. His movie can also be read as a transition from euphoria to paranoia and the dramatic connotations of this second pole aren't virtually explored. It's a shame! It could have conveyed the following message: even in the happiest moments, there can be something terrible preparing which can flop them. The same remark could also be said when Coop has a fit of jealousy because Nina broaches a guy.

It may not be the last great film of the nineties as it is billed on the DVD cover but "Human Traffic" is to be taken as a good and incisive little movie which conveys with the styles and the fashions of the end of the twentieth century, a will to have fun without ulterior motives and trouble. An ideal movie to start any party or before going to a club.

In the recent news of Human Traffic 2 coming I decided to take a trip down memory lane and watch Human Traffic again. To me and my friends back then this movie was like the bible to us. We were the same people in a different part of the country doing what they did to the same music and life was amazing. Rewatching this brought it all flooding back, particularly the "......what was a I talking about?" scene. I couldnt count how many times I had said that and also helped out a mate who had also forgotten.

I do worry a little about how HT2 will be executed because todays culture and music is far removed. (I feel sorry for the youth these days).

I love this movie and has basically bottled the era for us to reflect on and enjoy for eternity.

"Human Traffic" is a guided tour through the weekend lives of a tight group of British clubbers who vent their accumulated frustrations with jobs, family, the establishment, and their lives in general with a rush of techno, dancing, drugs, and sex all the while looking at their counter-productive behavior honestly and with humor. An excellent job of dovetailing vignettes, narration, and storyline, some will find Kerrigan's whimsical effort repugnant while others will love it and still others will see a boring rehash of the same old 60's stuff revarnished for the current younger generation.

Yep, I couldn't find anything witty to say about this piece of junk, other than its crap.

Leaving aside the drugs issue, this film has nothing remotely resembling a story, there are no meaningful scenes anywhere, nothing resembling interesting dialogue, no characters of any substance, nothing. Just bland, boring people, getting s***-faced.

It's also completely unfunny. A couple of scenes raise a smile, but that's it. Otherwise, it's just one tedious scene, followed by an even more tedious narration, repeated endlessly throughout the movie.

Yes, people talk s***e and drivel when they are hammered. I've done it myself. And it's really, really, interesting........when you're hammered. But as anyone who's ever been a designated driver knows, being around drunk people when you're sober is extremely tedious, hard work. And that's what this film fails to recognise. The audience will most likely be sober when they see it. Therefore, its just mindless and boring.

Also, for a film about supposed "average" people, what the Hell was the scene with the cocaine-dealing club owner about? Like a normal person would risk their life just to get into a club by bluffing a drug-dealer? Give me a break.

S***e, just plain and simple. Not funny, not clever, just cack. Don't even bother watching it if you're drunk, unless you want something to put you to sleep, as it would still be cack.

If you want to see a bunch of people getting wasted just go out with your mates, don't bother with this rubbish.

It takes a lot for a movie to reach the already numb particles of my brain which have not already been tapped out due to the overcharge and redoredoredocopycopycopy world of movies. But this movie has made it onto my 'Magic Movies' list. To become a 'magic movie', it must leave every string of my being quivering in that which I can only define as 'bliss' and 'complete satisfaction'. This movie has tapped into the fibers of how my mind thinks and if not for the deeply personal bond my head and the head of whoever made this shares, it would look like another 'dead rave scene' movie from back when the 90's exploded with its Ecstasy craze. This is not how the movie came off to me at all. It's reached into me and pulled up something that I thought was dead for a very long time and pushed me as far as to give it a critique of my own. I forgot how long it's been since I've seen something that left me feeling this good inside. I strongly suggest seeing this movie.

Human traffic is unique work. Boldly existentialist, with little if any major conflicts. the only real task of the (unfortunately nicknamed) group of young hipsters is to survive the night. This movie is complete daesin of British youth. While the style recalls Danny Boyle and Guy Ritchie and Bahz Luhrmann and just about any other 'MTV'-style hectic editing, it can be forgiven of its willingness to appeal to youth market trends. There are some great moments that strike alarmingly true in Human Traffic (such as the various asides and daydreams in which we enter the narrator's true thoughts. How many of us would really just like to shake off that person that we see in public but have absolutely nothing to say to.)

Interestingly enough, the night of debauchery and substance abuse results in no overdoses, no arrests, and no social complications....which is usually the case in real life. And we're presented with the sage advice of the late great Bill Hicks to guide us down this path (which unlike Hicks' philosophy is not about self-discovery but rather getting really ripped) Surely not likely to be popular among the Just-say-no and straightedge crowds. The films has a surreal sense to it, that apart from all the fun and intentional surrealness (such as the play-by-play of a kid trying to snag a toke off the joint going around), actually does quite a good job of simulating a high. Though the ending lacks a certain closure (how do you end a movie like this), the enthusiasm levels arefar to hyperactive to be realistic and the style often impedes into the subject matter, Human Traffic is a good weekday movie for those dreaming of the weekend and a good motivational tape for those who've never tried ecstasy.

I'm lead to believe Human Traffic is somewhat of a cult film, but a cult film within certain circles to do with fans of clubbing and raving. It's no surprise because that's really all the film is, a documented and filmed account of what it's like to rave and club; for the rest of us, it's a non-event; a moderately dramatic and slightly inventive drama about British young adults that try to kill off sensations of pain to do with stresses of work, flailing relationships and even the actual lack of them. Human Traffic is a very specific film in the sense it is going to appeal to a direct audience; the illusion that the audience are seeing something better than what it is lies in the surrealistic content that has wormed its way into the film thanks to other recent attempts at the time such as Trainspotting and The Acid House. On the other hand, the filmmakers are not fooling anyone else.

The trouble with the film is its study of this particular mentality. The defining scene is about half way through the film in which a couple of the main characters stand on a stairway to a large, old manor house and systematically turn around to the camera to address us. If you're struggling for a visualisation, think the opening few seconds of the music video to that Spice Girls song from years back entitled 'Wannabe'. As they turn to face us, they talk and laugh in our direction about how brilliant the night's going to be and how they love doing what they do. The problem here is that rather than see the night through the eyes of one of the characters, the highs and lows but hopefully not too much of either without the highs glamorised; we are invited to see the scenes unfold through our own perspective that is the camera's POV.

This means whatever viewpoint or opinion we have on these people and this lifestyle will stick throughout this sequence, meaning if you're into it you'll be loving it but if it's all alien to you in the first place, you'll probably be despising what's going on. We are not invited to participate through one of the characters, instead we must watch from outside the box as events unfold in a dreary fashion.

The film is one of those driven by lifestyle and consequence rather than out and out narrative. There is a lot of narration establishing the life certain people lead as well as several scenes that kill time whilst coming across as quite eccentric afterthoughts, the scene in which everyone stands up in the pub and sings at the camera being one of them. Jip (Simm) is the narrator and is so all over the place, both in speech and movement, that he manages to go from mentioning Neil Armstrong to talking of Milky Bar chocolate bars in one monologue spanning about four seconds. Such is the nature of the film.

Simm plays the character well, a sort of eccentric person who's on the brink between being perfectly normal and completely loosing his mind completely. Simm hates his life and 'lives for the weekend' where he can let loose and try to scratch that itch of not having had a partner in ages. Initially, Jip is conflicted on his lifestyle after all this time. He initially seems to be on the brink of an epiphany but he doesn't know it. It looks as if he's about to mature, questioning his lifestyle and coming to terms with the damage he's doing to himself. Unfortunately, the film does cop out towards the end with this idea and has Jip find a partner, thus halting the possible maturity stone dead. All of a sudden he's happy with his lifestyle and nothing seems so bad after all, which was disappointing.

Along with Jip are Koop (Parkes); Lulu (Pilkington) and Moff (Dyer). What they get up to is slightly uninteresting at the best of times, their activity only demonised on the rare occasion Danny Dyer narrates what it's like to come down off drugs at a bash full of random people all doing the same thing. The film is all style, with its study of the British male in crisis filling in the rest. Jump cuts; breaking the fourth wall; subtitles and popular culture dialogue are the attempts at coming across as somewhat different to what you might have expected. For watching ravers, it'll add to the disillusioned sense they might already have while watching but for everyone else, it's just quite ordinary and often comes across as a bit of a gimmick.

Very near the film's immediate beginning is a short monologue about how a 17 year old boy hopes to have sex for the first time on a night out with the characters. This will instil some viewers with dread as to what might come; others will probably laugh their heads off and miss the subsequent thirty seconds of the film through that laughter. Human Traffic can be added to list containing Trainspotting and The Acid House as surrealist, realist drama comedies made in Britain around about the turn of the decade. It isn't as good as those films because it doesn't feel grounded. The film might just as well have been shot with real ravers on a real night out, but of course where's all the director's post-modern style going to come from then? After all, we've got to have all that in there- haven't we?