More than 10 000 people are smuggled into the United States for sexual exploitation per the nonprofit organization Free the Slaves. Inspired by a New York Times Magazine article Trade focuses on the attempts of traffickers to smuggle a group of women and children across the U.S.-Mexican border. Director Marco Kreuzpaintner wastes no time introducing us to the two victims he intends to follow from their kidnapping in Mexico to their auctioning off in the United States. Adriana (Paulina Gaitan) is snatched from the street as she rides the bicycle she just received from her brother Jorge (Cesar Ramos) for her 13th birthday. Single mother Veronica (Alicja Bachleda) arrives in Mexico City from Poland believing she’s there to meet with the people she’s paid to arrange her with safe and legal passage to the United States. Only she’s been duped by the traffickers. Adriana Veronica and a handful of other abductees then begin their terrifying journey to the United States under the watchful eye of trafficker Manuelo (Marco Perez). On their trail is Jorge who feels responsible for Adriana’s kidnapping. He risks life and limb to follow the abductees across the border. Once on U.S. soil Jorge crosses paths with Ray (Kevin Kline) a Texas cop who’s trying to break up the trafficking ring for personal reasons. Ray reluctantly pairs up with Jorge to track down Adriana before she and Veronica are sold off to the highest bidder via the Internet. More gentleman than action hero Kevin Kline’s not the obvious choice to portray a police officer hailing from the Lone Star State. Ray’s the kind of law-enforcement bloodhound Tommy Lee Jones can play in his sleep. Heck Kline only halfheartedly attempts a Texas drawl and even then he drops it minutes after his late entrance. This could be overlooked if Kline lent Ray some intensity. For someone on a crusade Kline strolls through Trade without a care in the world. As Trade reaches its inevitable showdown between the traffickers and their pursuers Ray’s faced with a life-or-death choice that would compromise all he stands for. Kline though looks about as conflicted as someone trying to decide what he wants for lunch. Luckily Kline’s presence doesn’t negate the fine work done by Ramos Gaitan and Bachleda. Ramos perfectly captures the guilt of a troubled young man—one embarking on a life of crime—whose ill-gotten gains has cost him dearly. If Ramos offers a study in redemption Bachleda goes to great pains to show the ease with which someone with so much grit and determination can bend and break under the most extreme of circumstances. Gaitan doesn’t endure as much abuse but she’s still one tough cookie. Perez refuses to allow Manuelo to be a mere profit-minded monster—he provides Manuelo with a conscience or what passes for one in his business. Trade is a tale of two countries. While in Mexico director Marco Kreuzpaintner examines the sex-slave trade in an incisive and uncompromising manner. He sheds light on how these trafficking rings acquire their slaves and smuggle them across the border. He puts us on edge the moment Adriana and Veronica fall in their captors’ hands. We’re never sure as to what will happen to them. We know they need to be kept alive. But in what condition? Many of the abductees are drugged beaten and raped. The violence isn’t exploitative—Kreuzpaintner just needs to show the cruelty inflicted upon these victims of the modern-day slave trade. And it only makes us fear more for Adrian and Veronica’s safety. Once Trade reaches the United States Kreuzpaintner and screenwriter Jose Rivera start pulling their punches. Yes there are some moments that make you sick to your stomach. But the moment Kline arrives on the scene Trade gets weak at the knees. There are too many coincidences for Trade’s own good. The sudden death of one character is forced and absurd. And Kreuzpaintner doesn’t know how to extricate Kline from the untenable situation he’s placed in during Trade’s climax. This all leads up to a pat ending one that even the Lifetime TV crowd would find unbelievably spineless.
Idi Amin was the ruthless dictator of the African nation of Uganda throughout much of the 1970s. He was ultimately blamed for thousands upon thousands of deaths (some estimates place the death toll in the hundreds of thousands) during his tenure. The Last King of Scotland is a fictionalized version of Amin’s (Forest Whitaker) reign of terror. Giddy after graduating from med school in Scotland Nicholas Garrigan (James McAvoy) randomly picks Uganda to be his first post-college destination. When he gets there the locals are abuzz after the new leader has been sworn in and vows to right all that is wrong with the country. After a chance encounter with Amin Garrigan bears witness to his dichotomous personalities as the ruler goes from threatening to charming on a whim. Amin is so taken with the young doctor--and vice versa--that he invites Garrigan to become his personal physician. A doctor-patient relationship leads to close friendship and before long Garrigan is the very center of the dictator’s inner circle. And not long thereafter he learns that there is no worse place to be. For over 20 years now we’ve all bore witness to Whitaker’s mastery of acting. His choices have been eclectic and his performances consistently great but it’s always been a case of “And oh Forest Whitaker’s great too.” Until now. Whitaker makes what can only be described as an earthquake of an entrance. It’s clear in the movie when Amin will first appear and yet the actor still manages to catch us off-guard. Amin’s manic personalities are child’s play for Whitaker but he never has fun with it which is where other actors might have gone overboard. He is now leading the race for the Best Actor Oscar too. Not that the supporting players are too shabby though. McAvoy's (The Chronicles of Narnia) Garrigan is actually the heart of the story allowing for more screen time than Whitaker and the Scotsman soaks up every second. He sticks out like a sore thumb in the film but not only because he’s from the opposite side of the earth; it’s because McAvoy the actor makes sure to react differently to everything. In addition former X-File-r Gillian Anderson turns in a solid if short apperance--and you’ll be surprised how amazingly hot she is! Kerry Washington (Mr. and Mrs. Smith) as one of Amin’s countless neglected ex-wives is superb as well.
The contrast between Last King's first and second half is as night-and-day as Amin's personalities. In the first half director Kevin MacDonald (Touching the Void) allows the story to simmer to the point of perfection; in the second half he gets sloppy as though in a rush to finish a different movie than the one he started. The ending also a mix of truth and fable (plucked from the highly acclaimed book by Giles Foden) quickly spirals towards its conclusion which is tough to watch for very different reasons. But prior to that--even at some points in the uneven second half--MacDonald paints a beautiful monster out of Amin. Maybe more importantly he paints a beautiful picture of African ambiance an indirect thank you to the Ugandan people that allowed unprecedented access to their country for the sake of Last King. Even with MacDonald's occasional blunders it's hard to deny the power of his film.