‘Traffik’ (2018): A bumpy ride (review)

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Crime thriller “Traffik,” directed and written by Deon Taylor, concentrates on a weighty topic of sex trafficking. Featuring a knockout performance by Paula Patton with veteran Omar Epps bolstering the cast, it’s an uneven film which fails to capture the gravity of its subject matter. Despite superb acting from Patton, “Traffik” is a bumpy ride.

From the opening credits, “Traffik” attempts to set a serious tone. A nameless young woman dances in a nightclub, before being approached by a faceless man. Later, she’s seen tied up in a trailer. Cut to Brea (Patton), a journalist for the Sacramento Post. Brea learns that a major story she’s been covering was published by a fellow Sacramento Post journalist. Upon confronting her boss Carl (William Ficthner),he dubs her story a fluff piece.
Brea’s boyfriend John (Epps) takes her out for a birthday dinner along with friends Darren (Laz Alonso) and Malia (Roselyn Sanchez). However, fast-talking sports agent Darren reveals a surprise Darren had set up for Brea: a getaway in the mountains of California. Before leaving for the trip, John provides another surprise, a car he built as his shop for Brea. The idyllic drive takes a dark turn when John and Brea stop at a countryside gas station for a refill. A group of bikers begin asking John racist questions before Sherriff Marnes (Missi Pyle) steps in. Meanwhile, in the bathroom, a terrified-looking woman, Cara (Dawn Olivieri) bumps into Brea and cryptically states “Sure feels a lot like the Fourth of July.”

Eventually, John and Brea arrive at Darren’s mountain house. Unfortunately, shortly after showing up, Darren and Malia appear unannounced. Darren reassures Malia that John invited them, although it’s clear John didn’t. But another round of uninvited guests grace their doorstep when Cara materializes seemingly out of nowhere, along with the biker gang in tow.

“Traffik” should, and could, have been a far stronger film than the disappointing end result. From the onset, writer-director Deon Taylor infuses the movie with a dark atmosphere. Before the opening credits finish, an unidentified woman is abducted by a sex trafficking ring. However, the serious tone falters because of rampant tropes. Most characters remain shockingly shallow stereotypes: John the caring, supportive boyfriend. Darren plays a coke-snorting, fast-talking sports agent. Then there’s Red (Luke Goss), the British head of a local California sex trafficking gang.

Paula Patton lends a tour de force performance which slightly compensates for one-dimensional characters and subplots. Arguably, Patton’s acting is the sole reason to watch “Traffik” which, regrettably, is tough to take seriously considering its rampant cliches. The third act does feature a few twists which I didn’t predict, though it’s not nearly enough to overcome the sheer predictability of the plot and lack of character depth.  Although the idea of drawing attention to the oft-overlooked problem of sex trafficking in the United States is a solid premise, “Traffik” fails to execute. You’re probably better watching “Taken,” than “Traffik.”