Crash is a valiant effort that's obviously trying to say something important, but that message is buried so deep under piles and piles of melodrama, to the point that it's a sickeningly trite excuse for a drama film. Paul Haggis is constantly beating you over the head with "cops are all racist" and "minorities are the victims" and "the upper class doesn't care about the lower class" beats; of course, some of these points are often valid in everyday life, but Haggis crams these down our throats with no subtlety whatsoever. The only real highlight of Crash's narrative is the way it intertwines the different plot lines into one cohesive narrative, and even that feels too compact for a story set in the sprawling city of Los Angeles. The ensemble cast is completely wasted, and nobody gives a truly worthwhile performance, which is odd considering the amount of talent involved. The technical aspects are fine, but even those are vanilla at best (the beauty of Mark Isham's musical score is lost through its recurring and overly dramatic usage.) There's potential hiding within Crash, but Paul Haggis opts to deliver this story in the most melodramatic way possible, and that's disappointing.