Bad Dads Film Review

Soderbergh Movies & Traffic

• Bad Dads • Season 30 • Episode 2

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This week on Bad Dads Film Review, Sidey, Dan, Reegs and Cris take on Steven Soderbergh’s Traffic, the Oscar-winning 2000 ensemble drama about the war on drugs, starring Michael Douglas, Benicio del Toro, Catherine Zeta-Jones, Don Cheadle, Luis Guzmán, Erika Christensen, Dennis Quaid and several thousand other people you recognise from better-lit rooms.

The episode begins with Reegs back from France, a heroic return to walking football, a 6–2 win, snacks from Grand Marché, Rioja on the table and the usual sense that the podcast might be more structured if anyone genuinely wanted that. Recent viewing includes Dan on Early Man, Ted Lasso and Grown Ups, Reegs going deep into Reacher, Cris bringing a bit of cartel-adjacent homework energy, and Sidey watching Barry plus Netflix serial-killer thriller The Whisper Man, a film he enjoys until the last-minute ghost business turns up and starts knocking over the furniture.

Before the main film, the dads count down Steven Soderbergh and Soderbergh-adjacent favourites. Cris explains how Benicio del Toro led him towards Traffic and Che, while the conversation takes in the myth and reality of Che Guevara, Soderbergh’s habit of editing and shooting under pseudonyms, and the frankly annoying fact that he appears to have made several films since this paragraph began. The list includes Solaris, Contagion, Syriana, Logan Lucky, Erin Brockovich, Magic Mike, Ocean’s Eleven, Ocean’s Thirteen, Haywire, Her, Confessions of a Dangerous Mind and Sidey’s beloved Out of Sight, which he still considers a 10-out-of-10 film thanks to Clooney, J-Lo, Luis Guzmán, Catherine Keener, David Holmes and the sort of charm that should probably be illegal.

Then it is time for Traffic, a film the dads remember as serious, long, colour-coded and very much trying to win awards, which, to be fair, it did. The review follows the film’s interlocking stories: Javier Rodriguez trying to do good police work in Mexico while the system around him is already captured by cartel politics; DEA agents Montel Gordon and Ray Castro attempting to protect an informant long enough to bring down Carl Ayala; Helena Ayala discovering that being a wealthy pregnant society wife becomes much more complicated when your husband is dragged away by federal agents; and Robert Wakefield becoming America’s new drug czar just as his own daughter Caroline falls into addiction.

The dads dig into the film’s bleak central point: the drug war is not really a war that can be won, because every apparent victory is also part of somebody else’s business model. Sidey describes the film as showing where drugs come from, how they move, how people try to stop them, where demand lives and why the whole machine is so futile. Cris particularly likes the Mexico storyline and the way the film’s colour palette helps you instantly know which world you are in, while Reegs connects the whole thing to the kind of institutional fatalism later explored in The Wire.

A major talking point is the subtitle disaster. Dan and Sidey both watched versions where the Spanish sections were not properly translated, which is not ideal when huge parts of your Oscar-winning bilingual drama are in Spanish. Dan’s version apparently just told him people were “speaking Spanish”, which he had already managed to work out by being awake. Reegs uses this as a chance to grumble, correctly, about the loss of physical media and the way streaming platforms can serve up broken versions of films without anyone seeming to care.

The film itself gives the dads plenty to chew on: Benicio del Toro’s quiet moral centre, the funfair arrest and “don’t shoot the clown”, Luis Guzmán’s excellent Ray Castro and his brutal car-bomb exit, Catherine Zeta-Jones going from shocked wife to ruthless operator, Dennis Quaid sniffing around the Ayala money, Caroline Wakefield’s awful spiral, Michael Douglas having to confront the war on drugs happening in his own house, and Javier’s beautifully modest final request for electricity so kids can play baseball at night.

Verdicts are positive, but not breathless. Sidey thinks Traffic is extremely well made, handheld, fluid, serious and still strong, but also calls it a one-and-done rather than a film he would rush to revisit. Dan struggles more, partly because the missing subtitles kneecapped the experience and partly because the film is long, worthy and occasionally lost up its own arse; if forced to choose, he is watching Gladiator twice before watching Traffic twice. Cris is warmer on it, praising the acting, the structure, the Mexican material and the way the separate stories connect without turning into a neat crossover event.

So the Bad Dads verdict lands somewhere between strong recommend and medium-well: a serious, grown-up Soderbergh drama about drugs, power, money, family and futility, admired more than loved, and improved enormously if your streaming service can manage the advanced technical feature known as subtitles.

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Bad Dads