Review: TRAFFIK (2018), a well-intentioned but frustratingly inconsistent thriller

It is possible to make a thoughtful movie about human sex trafficking, and in spite of Traffik having the best of intentions, it doesn’t fully accomplish that goal. Earnest and generally well-acted, the film takes too long to take off, can be quite cheesy at times, and concludes in a very rushed manner, making it seem as if the production ran out of budget at the very last minute. There are a couple of very tense sequences, and the film is actually well-shot, but considering the complex topic it tries to address, it definitely could’ve been more.

Our protagonist is Brea (Paula Patton), an ambitious reporter for a local newspaper who’s been having trouble with her boss, Mr. Waynewright (William Fichtner), who doesn’t believe in her idealistic crusades. Despite her work-related problems, she’s very happy dating John (Omar Epps), so much so, that she suspects he will propose to her any minute. She also enjoys the company of her friend Malia (Roselyn Sanchez), and to a lesser extent, her boyfriend, sports manager and all-around douchebag Darren (Laz Alonso).

Everything changes, though, when Brea and John decide to have a romantic weekend in the mountains. After a brief but terrifying encounter with a biker gang while buying groceries in a gas station, they start being accosted by them. What in the beginning seemed to be a very small and manageable problem, becomes a fight for their lives, especially when they learn the truth about their stalkers: they are part of a sex trafficking ring, led by the coldblooded Red (Luke Gloss). And they’ve set their sights on the couple, and especially Brea.

The main problem with Traffik is one of tone. The movie doesn’t really know if it wants to be a serious cautionary tale about the real-world problem of sex trafficking, or an exploitative tale of love, sex and murder. While trying to do the former, it becomes too preachy —especially during its last act—, and while doing the latter, it feels more like a cheesy made-for-TV movie than a theatrical release. It tries to have it both ways, and ends up feeling incomplete and inconsistent.

There are structural problems too. The first third of movie is dedicated to an extended introduction, in which characters are first presented and their relationships explored. It’s all for nothing; Roselyn Sanchez’s Malia disappears for more than half the film, and Brea and John’s romance—and their insecurities regarding their possible marriage—, while important to the plot, could’ve been developed in a more economical manner. It takes Traffik a full half hour to finally introduce the antagonists, and even more time for the actual conflict to take place. I’m pretty sure most members of the audience will go to see the movie for the action and suspense, not for the supposedly romantic sequences between Patton and Epps, or the annoyingly “comedic” bits from Alonso.

Paula Patton, a pretty solid actress, is not bad as Brea. She makes for an interesting protagonist, a strong and intelligent woman who dedicates her life to the uncovering of brutal truths, much to the chagrin of her boss. Patton makes Brea someone who the audience can identify with, and although they pretty much know she should survive, she’s vulnerable enough for the more suspenseful sequences to work. Epps is a little bland as John; Laz Alonso is terribly annoying as Darren —although, considering the way most other characters react to his antics, I suspect that was the point—, Luke Goss is a total bore as Red, one of the least intimidating villains I’ve seen in a long time, and both Roseylin Sanchez and especially William Fichtner are wasted in small, thankless roles.

Traffik actually tries to tackle the issue of human trafficking in real life, but only does a marginally commendable job a it. The resolution is too rushed for it to make a big impression —and one doesn’t really get to see much of the consequences of the villains’ actions—, but the film attempts to compensate this with a couple of title cards before the end credits. Considering both the cheesiness and the earnestness of the movie as a whole, this last resort doesn’t fully work. I get the message the filmmakers are trying to convey —and it’s a really noble one—, especially through the handling of Brea’s job and her characterisation, but for it to work, it should’ve been the focus of the story, not an afterthought.

Nevertheless, the movie does have a couple of truly suspenseful sequences, which help to make the experience a more entertaining one. The prologue is sufficiently tense and horrific, the first encounter between Brea, John and the bikers is uncomfortable and feels surprisingly realistic, and a brief action sequence later in the proceedings, set inside the house of an elderly man, shows the kinds of consequences the actions of these villains can have in the lives of everyday people. Traffik should’ve had more of these and less conversations about marriage or swimming pool sex scenes.

Traffic tries to be a thriller, a drama and a cautionary tale, and ends up underdelivering every-time. Paula Patton is great as a not-so-traditional Woman in Danger, most of the sequences of action and suspense are well-shot and generate tension —although for some reason, there’s an abundance of zooms in many of these moments; what’s up with that?—, and the picture’s anti-trafficking message is commendable, but the script’s poor structure, laughable (and cartoonish) characterisation of its villains and uneven tone end up doing too much harm. Unfortunately, Traffik doesn’t manage to live up to its noble intentions.