Crash

By Chlotrudis Independent Film Society
Rating: 2.9 cats
Starring: Brendan Fraser | Don Cheadle | Matt Dillon | Ryan Phillippe | Sandra Bullock | Thandie Newton | Tony Danza

Country: germany, united_states

Year: 2005

Running time: 113

IMDB: http://www.imdb.com/title/tt0375679/combined

Amanda says: “I just saw CRASH last night and I cannot stop thinking about it. Sign of: good film that you want to share (like this), bad film that you want people to avoid (I don’t know if I should mention titles because these are usually things that I ‘should’ like, but didn’t, but I’ll go out on a limb: didn’t care for NAPOLEON DYNAMITE), or were mighty complex and you need to work them out for a few days….weeks (PRIMER).

“I had been eagerly awaiting Haggis’ directorial debut after admiring his screenplay of MILLION DOLLAR BABY, especially after reading the short story it came from! Being drawn to more depressing films (and the trailer certainly doesn’t lead you to believe you are off to a picnic) I was surprised that Haggis didn’t use every opportunity he could to break the viewers hearts. He is a clever writer that leads you down certain paths, on the edge of your dramatic seats, and doesn’t quite do the expected.

“It is a harsh Los Angeles that he depicts. Rife with racial tensions, and not just black on white, which made the film even more substantial. For example, a fender bender between an Asian and a woman she thinks is Mexican has the Asian threatening the ‘Mexican’ with deportation and INS, while the ‘Mexican’ has been mocking the Asian woman’s poor English skills.

“For those of you who are big into your actors and think that some play the same roles more often than not (I may or may not be agreeing:-): Sandra Bullock does not play peppy or strong; Ryan Phillipe does not play a teen heartthrobe And WHOA! Matt Dillon? Let’s just hand him a few big awards now. I’m more partial to Don Cheadle, but Dillon’s role is a breakthrough. 5 cats”

 

Johanna says: “Today I saw CRASH which left me feeling completely bruised. It was VERY good and I strongly recommend it. But it is painful. I found myself flinching for long periods of time over and over again. I didn’t want to see what was about to happen, and I was left in that suspended state for an uncomfortable period of time, and then what I was expecting to happen didn’t. That happened again and again. The relief was welcome, but not completely, because what I was afraid was going to
happen could also have easily happened too. None of it was out of the realm of the possible, it seemed to me.”

 

Diane says: “Paul Haggis’ CRASH is a quick-paced film with an excellent story line. In car-centric LA, people are brought together thru car crashes and crime that crack the surface of hidden racial conflict. Slurs and stereotypes come easily to every character’s tongue as assimilated and non-assimilated Persians, Cambodians, Salvadorans, light-skinned and dark-skinned African Americans, Anglo-Europeans, Chinese, and Mexicans collide. I was dragged along with them, feeling frightened, angry, and ashamed.

“There’s fluidity between ‘good guys’ and ‘bad guys;’ power shifts quickly and political ramifications (one of the character’s is the DA) abound.

“Don Cheadle is great. CRASH reminded me of MAGNOLIA, esp. one aspect of its ending. 4 cats.”

 

Bob says: “I think I’m going to be alone when it comes to CRASH. I just didn’t care for it at all, in spite of some very respectable performances, especially Cheadle. It reminded me of all those BREAKFAST CLUB-by films the message of which was invariably, ‘We’re all different, and yet we’re all the same, and yet we’re all different, and yet we’re all the same.’

“Did every character have to show that they’re both petty and heroic, strong and weak, happy and sad for us to get the message? Was that really necessary? You could go into the film with a checklist and just mark off the two defining moments for each character. Once you’ve checked all your boxes, you know the film’s over.

Tom responds to Bob: “No, you’re not alone. Way too preachy for my tastes.”

Thom responds to Bob: “When did Sandra Bullock’s character display heroism or strength? When did Don Cheadle’s character display heroism? When did Matt Dillon’s character display happiness? When did Brendan Fraser’s character display heroism, weakness, or sadness? When did Ryan Phillippe’s character display pettiness? When did Thandie Newton’s character display heroism or pettiness? I could go on and on but I thought the characters were much more complex than simple emotions. That isn’t to say I loved the film. I thought I was getting a primer on the evils of racism, something I’ve been aware of all my life. So I just felt the film was tired in general, although good points were made. Some of the acting was fine, but that certainly wasn’t a strong suit in the film. Dillon, who I usually think is terrible, was actually quite good here. The film certainly improved as it went along. I gave it 3 CATS.”

Bob responds to Thom: “You’re taking me literally! That can never work. What I meant was that the film is insistent on giving us a caricature rather than a character, and then saying, ‘But look! S/he has another side!’ It’s just that that other side is a caricature too.”

Thom responds to Bob: “But don’t people have many sides? I think of caricature as Cate Blanchett in THE AVIATOR. The African American director in CRASH who turned to his dark side in one incarnation was rather overdone, I admit. I had no idea that CRASH would be so controversial; all the contributions have been fascinating. Your comments are very well-taken.”

Diane responds to Bob: “I did read one review that agreed with you all the way, Bob. Sometimes I love to be clubbed over the head with a message. Am still waiting to check the locksmith’s box, though–the sole character who didn’t get that appositional treatment (thank goodness).”

Bob responds to Diane: “Hm… the locksmith. He did show anger when he was dealing with the Persian shopkeeper, which differs quite a bit from his reaction to what the rich white woman said, but I guess he’s not quite as formulaic as the others.

“I had a small continuity question about the film, by the way: the last scene involving the TV director and his wife takes place when: before or after she’s been to the hospital? I would think it’s after, but if so, why does she not mention it?”

Diane responds to Bob: “How about: because everything exists to affect the viewer, and the viewer already knows? I don’t think it’s a failure of continuity–perhaps a failure to imagine how to incorporate the near-death experience into the director’s response to his wife.”

Michael responds to Bob: “I’m with you all the way, Bob. I wasn’t really enjoying this preachy film very much, but toward the ending, when ‘racism’ pushed Sandra Bullock’s character down the stairs, I was done. 1.5 cats”

 

Bruce says: “Set in Los Angeles, CRASH is a dense and intense story of many intersecting lives over a twenty four hour period.
It also may be one of the ugliest, queasiest films I have seen in some time. Opening with a bang, the film’s runaway action relentlessly grinds on much in the style of TV crime procedurals. To Haggis’ credit, he does occasionally let the camera linger but the overwrought emotions override the visual effects intended to soften the narrative blows. Only one scene grounds the film and that is a marvelously sentimental moment between a Hispanic locksmith and his young daughter.

“Having heard both glorious and damning things about the film I admit to entering the theater a bit more than skeptical. Yes, the film is a crash course in the complexities of racism. But this is a curriculum centered in television drama, rehashing old episodes of ‘All in the Family,’ ‘NYPD Blue’ and ‘Law and Order,’ to list a few. I’m not surprised to learn that Haggis is a television veteran of twenty years. Nothing about the film feels fresh and original.

“In a very short time we see Chinese, African-Americans, Koreans, Hispanics, Iranians and whites shouting racial epithets at one another. In addition there is plenty of self-hatred smoldering as well. What is unique about CRASH is that most of the main characters have a reversal of form or attitude as a result of having a day from hell, i.e., their behavior at the end of the film is exactly opposite of what it was at the beginning. That is cute and clever. The fact that is all is conveniently contrived did not
bother me as much as it has others who have seen the film. Melodramas with huge ensemble casts always seem somewhat contrived – it comes with the genre.

“Haggis tells a complex story without much confusion and he gets decent performances from his huge cast, particularly Sandra Bullock’s performance which I rather liked since she was very much cast against type. (Strange, since she was my original excuse for not seeing this film.) I’ll look forward to Haggis’ next film and hope that it is designed to entertain, not to hit the viewer over the head with its message. 2.5 cats”

 

Chris says: “Boy, was I underwhelmed by this. A film about intersecting, mostly unpleasant Los Angeles characters being really
awful to each other has already been done to death (see the superior SHORT CUTS or MAGNOLIA) and this one repeatedly hits you over the head with the groundbreaking revelation that not only is racism bad, but also as omniscient as ever. Watch to see who finds redemption, and who doesn’t! Writer-director Paul Haggis’ general idea behind this film is fine, but the execution totally lacks nuance, coming across as shallow as some of his characters. And don’t even get me started on some of the most schematic, implausible plot twists you’ll ever see. Of course, Don Cheadle, Matt Dillon, Thandie Newton, even Ryan frickin Phillipe are all fine, but if you want to see an insightful, innovative study of race relations, rent Cassavetes’ SHADOWS, or NOTHING BUT A MAN, or even DO THE RIGHT THING. 1.5 cats”