- Rated: R
- Run Time: 1 hours, 38 minutes
- Video: Color
- Released: January 8, 2013
- Originally Released: 2002
- Label: Paramount Catalog
- Encoding: Region 1 (USA & Canada)
- Note: Commentary by Director Roger Michell
- The Making of Changing Lanes
- A Writer's Perspective Featurette
- 2 Deleted Scenes
- 1 Extended Scene
- Theatrical Trailer
- Aspect Ratio: Widescreen
- Dolby Digital 5.1 - English, French
- Subtitles - English
Performers, Cast and Crew:
Variety - 05/09/2002
"...CHANGING LANES is on to something..."
Los Angeles Times - 04/12/2002
"...Adeptly written....CHANGING LANES is especially good at bringing an urban nightmare to the screen..."
Box Office - 06/01/2002
"...Jackson's performance provides the heart of the story. Illuminating the idea that things are sometimes not what they seem, Jackson shows us a doting father and persistent husband..."
Chicago Sun-Times - 04/12/2002
"...Excitingly alive....This is one of the best movies of the year..."
Total Film - 12/01/2002
"...CHANGING LANES is actually an intense, intelligent and gripping moral drama..."
Two cars collide on the FDR expressway. Their drivers--two seemingly opposite men--are Gavin Banek (Ben Affleck), a young white partner in a powerful law firm, and Doyle Gipson (Samuel L. Jackson), a meek, working-class black man. At the scene of this fender bender, Gavin, who is busy trying to make a business appointment on his cell phone, offers Doyle a blank check to cover damages. Doyle, wanting to properly exchange information, declines, causing Gavin to flee the accident site. In his haste, Gavin leaves behind an important legal file which Doyle uses to his advantage, setting off a brutal cycle of revenge between these two men who began this Good Friday as strangers.
A class commentary that is decidedly different from director Roger Michell's previous film, NOTTING HILL, CHANGING LANES provides very little information about its two central characters before the moment of their car accident. Michell introduces them by crosscutting between both men speaking publicly--Gavin is lecturing to a charitable foundation, Doyle is talking at an AA meeting. These techniques of crosscutting and mirror imaging are used effectively throughout the film to underscore that the obvious social and economic differences between the two men doesn't disguise the dark and angry nature that exists in both of these men, and potentially in all of humanity.
- Theatrical Release: APRIL 12, 2002