If the goal of the filmmakers behind Changing Lanes was to bring the audience to their boiling point, to bring us just shy of the edge of pure rage, mission accomplished. But forget the weak advertising campaign, forgettable poster and dull theatrical trailer, Changing Lanes doesn't sell itself very well, but it does work as a movie. Successfully surpassing the elements of a standard thriller, the movie contains enough original and interesting content and evokes genuine compassion for, if not the characters, at least the situation. Easy to identify with, the themes of the film are ones to make you think, though the story is fairly simple. It all starts with a minor traffic accident. A Wall Street Lawyer, Gavin Banek (Ben Affeleck) on his way to the courtroom, and a recovering alcoholic father, Doyle Gibson (Samuel L. Jackson) on his way to a custody hearing meet briefly after a fender bender. In a rush to make it to the hearing, Banek refuses to exchange insurance information and instead cuts Gibson a check and leaves him insulted and without a ride. This single incident sparks a chain of events that begins with Gibson missing his custody hearing and losing his wife and kids; and Banek making a fool of himself in court without an important document and signature. Guess what happened to that document... That's right, Sam's got it. The rest of the film takes place over the course of that same day as both men go to extraordinary lengths to try and salvage their individual situations. Banek must get that file, by any means necessary, or risk losing his job and possibly going to jail for fraud if he is unable to produce that signature. Gibson's close to rock bottom, and given how he was treated not quite so keen on giving back the file. Both men blame each other for the downward spiral the day their lives have entered, and push each other's buttons to the point of no return. Intense stuff, even if the action in the film is limited. The movie works because not only is the situation believable and on a smaller scale identifiable, but the writing reflects equally believable behavior and dialogue. Written by Chap Taylor, his first credit as a screenwriter, I believe, and rewritten by Michael Tolkin (The Player) the foundation of the film is strong. Almost everything really good about Changing Lanes is because of the script. I suspect, in fact, that the original screenplay was probably even better, with more substance than the final product. I suspect a bit of trimming and compromise may not have helped, but it certainly didn't hurt much either. As I mentioned, the movie does work. Visually there were pros and cons. Sick of blatantly flashy and labored direction, I liked the simple, more traditional approach to the film. It was a bit flat, though, compared to some of the good stuff I've seen from the same director. It's not a movie to see if you're looking for pure eye candy, nor is it a movie I'd recommend if you're looking for a lot of action.Changing Lanes is a fairly engaging movie. A solid movie, that was much better than I expected and with a lot more to offer than the promos promise. This one came in under the radar, maybe a little too low. Possibly too much promotion may have done it more harm, because it's not a big summer movie that will please an adrenaline hungry audience; but it does deserve to get some attention. Good casting and good performances, even if neither are a stretch for the two leads. The movie has great supporting performances by William Hurt as Doyle Gibson's AA sponsor and especially the incredible Toni Collette as Banek's assistant and love interest (not to be confused with his wife). Above all a solid script deserves the most credit.