How any British clubber can give this film 0/10 is beyond me. Any clubber in the UK can quote a myriad of the memorable, hilarious and representative scenes that fill the film.If you like to rave and you were born in the early eighties you have probably seen this movie already and know it well, for new comers to clubbing, this is a history lesson, this is how it used to be, and still can be on occasion.There is little plot other than heading out for the weekend, but that is why this film thrives, with deep archetypal characters that we can recognise and empathise with, who love to get mashed up and on occasion pay for it with a steadily loosened grip on reality.Pretty much everyone I know who was raving in the late 90's and early 2000's knows this film inside out and loves it. But hey, if it's not for you then it's not for you.

Though labeled as 'the last great film of the nineties', I'd instead call this 'film' (loosely using that term) a last ditch, manipulative attempt at sneaking some slopped together, self-indulgent tripe before the turn of the century to cash in on a fading trend (in the pop culture sense - I know clubbing has had its' ups and downs, but from a marketable perspective, this was a 'hot' time to strike.) I listen to a wide range of music, and have gone clubbing in both the US and UK over the stretch of the 90's, so this topic isn't entirely Greek to me. And I have no problem with a movie that wishes to explore the highs and lows of said culture - many have complained about the 'lack of plot' of this movie. That is not what bothered me. Instead, I found this to be highly derivative and manipulative. The constant voice overs did not serve the same function they did in, say, Trainspotting (though that film had a plot, as well as something to say.) They instead seemed to be another tactic to wrangle the viewer in and create a false bond. A cheap ploy. Like, when Moff goes on about what a great time he's having being off his pickle, and then, eyes at the viewers' vantage point, stutters "ya', ya' know what I mean? Cushty! I know you wouldn't let me down! I knew it!" (paraphrase.) This seems to be there to create a sort of 'secret club' bond between the viewer and characters in the film. It happens several times again, but that's one of the more blatant examples I can think of.Another thing that bothered me about this movie was that it used other manipulative tactics, just under different guises, so as to not alienate any of the potential viewers. Like when they're in the pub, 'bonding' over music they hate. Well, they groups they name drop are so mind-numbingly obvious in their 'badness' or 'cheesiness' that there's no way it could offend someone even lightly into the club scene. They list stuff like Backstreet Boys and Hanson. I think Hanson was already pretty much dead and gone by '99. There are about 10 other groups listed, but it's the same monster. If these were kids that were hardcore into club music/DJ culture, they'd instead list DJs they thought were whack. But it seems they refrain from doing this to keep it safe and inclusive b/c God forbid they name drop a DJ they dislike and it alienates a viewer. Don't even get me started on the redo of the National Anthem!! "...It's hard being cool!" Pretty gusty of you all to say, as I don't consider any of you cool. Maybe a bit more modesty and instead "...It's hard TRYING to be cool..." Another sloppy mistake,in what could have been an amusing scene, was where the jaded older club-goers ranted about how things have changed and it just isn't the same now as it was back in their heyday. What they mix up is during the 'Summer of Love" flashback, by listing the date as 1991. Anyone who has a rudimentary understanding of rave culture knows the Summer of Love was '89. But that's I guess just a triviality to Kerrigan (writer/director).There are MANY more faults I have with this film, like, for example, who working retail like about half of the cast gets full weekends off? If you're lucky, you get one of the two days off. If you want Sat/Sun off, you often have to ask special permission, usually to much chagrin from your boss. Also, for such 'seasoned' club regulars, isn't Friday a bit of a 'tourist's' night to go out? What about Tuesday, etc...? One more thing...They make fun of other groups they fit into mock-able 'tribes' (such as the 'students' back from Amsterdam potheads - who I know are annoying, but are they really more annoying than the five leads? - or the hip hop junkies you can more or less talk nonsense to in order to jack up the price of an LP.) I just found that another manipulative tactic. Another 'you're one of us, you're in the cool crowd'.I think Kerrigan got lucky to an extent by bagging a few decent actors who clearly tried hard and gave high energy performances. For me, the funniest character featured was Danny Dyer/Moff. He had the only parts that really made me laugh, such as the Taxi Driver scene, phone sex story, and ill-fated mirror debacle. He was the most believable and the most entertaining. Though I will deduct points for the Star Wars party rant. Can we just stop it with those, even back in '99, they were played out! Kevin Smith has long had the monopoly on these, and they felt fresh when he did them. And seeing a Clerks poster in Jip's room made me somewhat suspicious. Also, the joke at the end about kids in the future having to smoke Moff's ashes b/c he's done all the drugs was ripped off almost VERBATIM from a Dennis Leary joke about Keith Richards off of his 'No Cure for Cancer' comedy album. I'm not overly familiar with Bill Hicks, but many accuse Leary of ripping HIM off, so it's pretty bad when you can trace some of the jokes so easily.I just don't get the accolades this movie has amassed, particularly over the last decade,making it some sort of cult classic. Was I entertained?Mildly. Did I find it realistic? Perhaps if they hadn't tried so freaking hard. But it was a bit of a hot mess. I'm not trying to rag on anyone who relates or likes it, I just feel this film was a cheap attempt to cash in on the end of the century so-called 'electronica'(hate that word)craze. I guess it succeeded.But in my opinion, it leaves MUCH to be desired...

I'm giving this a 10 because I seriously love this movie. I've seen far better, more profound plots, better acting etc. - but then again, I forgot about most of them. Yet Human Traffic is one of those movies that stuck with me. The movie is just pure fun and a look at what life is like for a rather sizable amount of young adults struggling with how to deal with a life dictated by a shitty job, which is, let's face it, the harsh reality for most people on the planet. The Answer is simple: go out on the weekends, go nuts, party and forget for the moment. Drugs play a prominent role in this one as well of course, but I wonder why people that didn't like the film get all cranky about it. It wasn't the main plot point unlike in Fear and Loathing in Las Vegas, which is hailed as a cult classic. Last time I came around to watch it I saw it completely sober (not even a sip of beer) together with a friend and I thoroughly enjoyed it and was somewhat envious of the fun the actors were successfully conveying. So no worries, you need not be high or drunk to enjoy this movie, as some suggest in the discussions. And afterwords I wanted to go out and dance and party so badly. It had a really energizing effect on me. Yet sadly, it was a Sunday...All in all, it's one of those movie's that people easily put down, cause it doesn't seem like much. But perhaps you're like me and it sticks with you, in a good way. It's worth a try. Oh and if you get the chance to watch this on a Friday, sitting together with friends before you got out, getting drunk, so you don't need to pay so much in the club(s), PLEASE DO. It'll most DEFINITELY get you in the right mood ;)

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.