Crash (2005)

Save your money for something good and enjoyable

It's entirely possible that sending the audience out feeling lousy was intentional

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

The best films of this genre always show a path and provide a takeaway for being a better person.

Nearly half way through the film "LA. Crash" misses ideas and new themes to carry itself another hour. In general, I think the idea of making a movie about race relationships and the effect on society is interesting and the movie always knows what it should be. Straightforward with much intensity and good drama and even some "punch-in-the-gut-moments". What pushes the movie for me is the fact that it willingly takes a straight up evil and bad man, and allows him to be human. Not that many movies have done that or can do that. The story is non linear and follows many storylines and characters to in the end culminate all these stories. In that regard, it feels pretty similar to "Pulp Fiction" (1994), just not that funny, not that violent, not that unique and not that well-acted and directed. But, comparing a movie with Pulp Fiction is never good for the movie itself. What ultimately prevents the movie of being more than "solid" is that the storylines are obvious, although often well-intentioned, the ambition is just too much to make it unpredictable or even exciting. The acting is good but because of the big ensemble and therefore little screen time, no character can really shine that much or put on a memorable performance. Maybe it is just because I have seen too many Crime/Drama flicks, that this one just didn't fully connect with me and frankly comparing "LA. Crash" to movies like "The Godfather" (1972) or "GoodFellas" (1990) would be a comprehensive stretch. 6/10

All in all, I actually enjoyed the film for what it was: it thrilling. Not to say it was a thriller, but there are points in which are incredibly intense and entertaining, and I'd say a watch is worth it for that.Obviously, the film has some major flaws: just by reading the script, one could say that the film is a little full of itself. Maybe a lot. The film begins with Don Cheadle talking off like it's poetry night, when in actually he's a detective in LA. A normal dude, right? "All this meddlin' glass..."That's to say that in the least, the dialogue takes itself too seriously, trying too hard to make a point. The stronger points of the film are when the characters aren't saying anything.The actions and the subject of racism in the film work to the extent of it's viewer's capability of taking these in stride. When I first watch the movie, I went in totally cold - it was more than a decade it was made and I had no idea what it was about.The first couple of minutes, I got it. Racism is bad. Job done - but they keep dragging it out when I think it handled the subject best when it was just the characters living their lives with their worries, discomforts, and obstacles. This film is incredibly contrived.Yet, I can't help but recommend it for some viewers, at least those who can stand/look past the cheesy dialogue and heavy-handed message - there are parts worth watching for, at least for when I saw it. I love the soundtrack, the actors are great, and the action is actually pretty good, too. I don't recommend referring to any trailers. Most of the ones I've seen only give too much away. Go into this as cold as possible.

Oh boy. As a feminist accidentally born with testicles, I can tell you, there's nothing I look forward to more than a film reminding me how privileged white males like myself are the scum of the Earth. I generally use movies like this as a sort of intellectual self-flogging to make up for the thousands of years of oppression my people have caused the entire world. This one, however, didn't amount to much more than a sappy, manipulative Disneyesque take on the state of racism in the United States.We know we're in trouble early on when Sandra Bullock's privileged character warns her liberal husband to be worried about two African-American gentlemen on the street and she turns out to be correct. It's like the film is shooting itself in its foot from the get-go. Afircan-Americans should NEVER be portrayed in a negative light on film or in television. They've suffered enough. Later, we meet an atrociously disgusting white police officer in the character of Matt Dillon. He molests an innocent African-American woman (as one suspects white police officers are apt to do on a regular basis) and then, as though the film wants to make some clever statement about irony, the same racist cop saves the same poor, innocent African-American woman from a burning car. The director plays games like this with the audience throughout the picture. It's like he's learned the very worst lessons Spielberg has to offer. Set the audience up, smack them sideways in a manner the filmmaker no doubt considers "clever." It's not. The whole movie reminded me of the patronizing scene in Schindler's List when Liam Neeson notices white flakes in the air. The audience thinks, "Snow! Christmastime! Yeah!" and then he walks a few blocks and we see it is actually ashes from burning Jews. Crash is nothing but an endless series of episodes like this. It looks like it was written by a freshmen cultural studies major who hasn't had enough Liberal Arts training to learn how to make his art subtle and, thus, more meaningful. Avoid this at all costs. For a great movie to feed your white guilt, I recommend "The Brother from Another Planet."

............................................................from Pasto,Colombia...Via: L.A. CA., CALI, COLOMBIA and ORLANDO, FL After seeing CRASH for the first time, in September, 2005, I said " WOW!...Why haven't I found out about this movie before?" (Well, maybe it's because it was released in the U.S. just a week before going to Colombia on vacation, on May 14, 2005.) This is the kind of film that you often dream about seeing, but are really lucky if just one of its caliber is released in a year! Scenes from the Movie seem to have kept swirling around in my brain for weeks! Below, I'm going to explain why: CRASH impacts not so much for its action as, perhaps, its title might imply, nor fantastic scenes utilizing dazzling "CGI" effects, but by the undeniable quality and human warmth of the story it tells. Time and again, CRASH shows us people, whom, at first, seem so easy to decipher, so black and white, and then, in a matter of seconds, disorients us with a chilling dose of unadulterated, hard reality: People are not at all one-dimensional, like in the comics. We are flesh and blood, replete with clandestine simmering passions, occult emotional scars, irrational internal conflict, and oftentimes victims of relentless, implacable, merciless fate! In stark contrast to its title, CRASH impacts for the subtlety that it displays from beginning to end. Boasting a truly majestic cast, CRASH is directed, orchestrated and integrated with inspiration by Paul Haggis, who also demonstrates here his creative genius in the capacity of writer, producer and composer. There is absolutely none of the "formula", which so infects almost all Hollywood films, in this independent Lions Gate Films production.CRASH takes place in my hometown of Los Angeles, which serves, in this case, as a microcosm representative of the entire United States. (Which is really not all that far removed from reality.) That there have been films in the past that have focused on racism or racial prejudice is undeniable. The vast majority of these pontificate on racism as the worst of evils, in a repetitive manner, without any real in-depth perspective. In addition, they almost always focus on one particular ethnic group. (Prejudice against blacks, Jews, Mexicans, etc.) More often than not, in these films the oppressed are all saints and the oppressors are all demons! There is a certain disconnect with reality. In contrast, there is multiracial interaction in CRASH. Whites with blacks, blacks with Asians, Orientals with Latinos, Asians with whites, Arabs with whites, blacks with Latinos, etc.In its notes about the production, IMDb lists a figure of just 6.5 million as the total cost of production. Absolutely amazing, considering that within the cast there are several actors who probably typically charge 5 to 10 million to perform in just one movie! Sandra Bullock (GRAVITY), Don Cheadle (Ocean 's Twelve, Hotel Rwanda), Matt Dillon (Something About Mary), Brendan Fraser (The Mummy, George of the Jungle) and Ryan Philippe (Cruel Intentions), all in roles that are in stark contrast to the type of role that made them famous, and each portrays a resonating, multi-faceted character who is very credible. CRASH makes it easy to identify with many of its characters, regardless of race, ethnicity or country of origin.There are no sex scenes or graphic violence in CRASH, but as there are many issues that are aimed at adults, consequently, it doesn't seem that CRASH would be of much interest to those under 12 years of age. Of over 100,000 movies on IMDb, CRASH is ranked at Number 334 and rated a 7.9!...ENJOY/DISFRUTELA! Any comments, questions or observations, in English o en Español, are most welcome!