After surviving a brutal car wreck, commercial director James Ballard finds himself slowly drawn to a mysterious subculture of people who have transformed automobile accidents into erotic events. Like the J.G. Ballard novel that inspired it, David Cronenberg's study of the sexual dimension of man's relationship to technology was a magnet for controversy, drawing a NC-17 rating and criticism from several sources, including studio owner Ted Turner, who attempted to prevent the film's American release. But though some have leveled charges of pornography, James' descent into this fetishistic underworld is approached with cold, scientific detachment. Characters like Vaughn, the charismatic group leader who stages recreations of celebrity car crashes, seem more like driven researchers than sexual renegades, which is undoubtedly part of the film's point. This impression is reinforced by the pristine cinematography by Peter Suschitzsky, which proves particularly haunting during a crucial accident scene, and Howard Shore's superb score. Far from exploitative, Crash in fact proves less transgressive than the original novel, but is still undoubtedly not for all tastes. ~ Judd Blaise, Rovi … More
as James Ballard
as Dr. Helen Remington
as Catherine Ballard
as Colin Seagrave
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Critic Reviews for Crash
[A] necessarily disturbing and equally profound inquiry into human desire, however self-destructive.
For a movie obsessed with the connection between sexual intercourse and car accidents, David Cronenberg's Crash could hardly be more stationary.
With Crash, David Cronenberg drives mainstream cinema over the edge.
While the director remains firmly behind the wheel for the first hour or so, he cracks up toward the end with sequences that send the film and the audience into a ditch.
It's a dark, disturbing, languorous movie, as ludicrous, hermetic and repetitive, perhaps, as Ballard's original, but admirably assured and true to itself.
Wildly unwatchable, as if someone had made Andy Warhol's Frankenstein without being in on the joke.
It's the cold survival logic of Darwin, where libertarians leave their past behind as if it were dead.
A stylish, intriguing and typically warped vision that hybridises the imaginations of Ballard and Cronenberg.
Mr. Cronenberg, for once oddly inhibited by brazen subject matter, has made a meticulously stylized and controlled film that leaves many of its characters' ideas muffled and lacks the true audacity its material demands.
In that re-identification of "otherness," he betrays his awe of humanity.
Crash is a violently rare exception to the continually careful stride of film, and few films have been made with such a conviction to such inherently controversial material.
While it is brilliantly crafted on a technical level, Crash is completely devoid of any human emotion, which only serves to distance the viewer farther than he or she already is.
Disturbing film about the tendency of many modern people to eroticize danger.
Cronenberg may feel it's necessary to temper explosive content with conspicuously tame style lest he lose any hope of a popular audience; whatever his motivation, though, I find his recent movies more compelling in conception than execution.
Lacking compulsion, Cronenberg's film is just repetition. It may crash, but it doesn't burn.
"Crash" doesn't extend beyond its most immediate sensationalism. When the movie does attempt to find a theme, it slams into a brick wall of mumbo-jumbo.
To say this movie is sick is too facile. Let's just say it's perverse. Crash is a grotesque film filled with vacuous characters and a destitute theme.
Audience Reviews for Crash
A perversely disturbing and highly uncomfortable film that bursts with overwhelming sexual intensity as the characters engage in a compulsive fetishistic psychopathology that is strangely telling, even if it will probably leave most viewers repulsed and make them never want to see it again.More
outstanding cronenberg work, more disturbing than anything i've seen since...'dead ringers'! don't watch if you're at all frightened of driving!More
In my opinion, this film is a masterpiece by Cronenberg. Features a frightening performance from Elias Koteas.More
I seem to have been the only person who HADN'T seen this movie so I decided to give it a watch and at the end of it, I kinda wish I had remained a Crash virgin for the rest of my life. Don't get me wrong, I love gratuitous sex on many levels but this film just didn't deliver any real plot to me. So they were in a car crash, then they became nymphs? If there is any poetry in this movie it was lost on me. Half a star for the idea, which was original, half a star for the Cronenberg name and then one massive star for the tattoo sucking scene between Spader and Koteas.More
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