Crash - Movie Reviews - Rotten Tomatoes

Crash Reviews

Page 2 of 1548
April 28, 2017
This movie offers two ways to experience prejudice. One, submit to the storyline that provokes many of us to censure at least some of the characters, only to find out later that we've misjudged (i.e. pre-judged). Two, like the movie and find that the right thing is to not like the movie, with the result that you find out what it feels like to be pre-judged. As one critic writes, "And I swear if any of you defend the film, I'm going to ban you." Certainly for specialists, the movie may lack nuance, but specialists in race and class struggles are obviously not the primary audience.
April 24, 2017
Con temi cosý caldi e delicati raccontare una storia cosý coinvolgente ed emozionante Ŕ davvero raro, ma questo film a tratti Ŕ riuscito ad essere davvero convincente. A tratti perchÚ in alcune scene le situazioni che si vengono a creare sono piuttosto spinte e improbabili, togliendo temporaneamente il coinvolgimento e facendoci capire che in fin dei conti stiamo guardando un'opera di finzione. Capisco le critiche che possono essere fatte su questi aspetti, ma dall'altra parte riesce a raccontare e sovrapporre storie da diverse prospettive con una facilitÓ davvero fuori dal comune. Anche se l'Oscar al miglior film mi sembra leggermente esagerato e moralista, Crash Ŕ senza ombra di dubbio un grandissimo film che merita tutte le critiche positive che ha ricevuto.
April 18, 2017
I love the fact that this film just tip-toes itself around the realm of stereotypical racist analogies and plays with them. At first I didn't feel on board with the storyline plan but I got absorbed by it since I love intertwined storylines and it almost upheaved a comedic value with such tropes. The long and dotted cast influenced me to watch it and each add their own zest when they reveal their own story. I love how they include a physical car crash here and there just some pun fun.
April 16, 2017
Subtle aint on Haggis adgenda. Its a ok movie, i just dont like being hit over the head with messages. Crash, hit me dead on, slaped me around a couple of times screaming "RACISM IS BAD" at the top of its voice.
March 23, 2017
Just a big mess of fake people and fake stories. The producers really see the audience for this movie as dumb. Dumb enough to give this movie an award.
March 11, 2017
A rich, poignant intersection of life stories. A good movie to be added to the CV of the big names who were part of this powerful film.
February 28, 2017
You could almost see Jack Nicholson's disapproval when he presented this disappointment with Best Picture.
February 19, 2017
Think that they may have overexaggerated a little bit with the racism issue, but it was very thought provoking.
February 12, 2017
cool how everything ties together. pretty intense.
February 1, 2017
It's good movie to watch
February 1, 2017
I understood the points that it was making about racism, but, just didn't enjoy the flow of the movie despite the great cast
½ January 22, 2017
A great movie with a great cast and sub-plots of individual characters coming together in one plot. Worthy of a Best Picture nominee.
December 31, 2016
Powerfully acted and emotionally involving, Crash features a message that remains important even today.
½ December 14, 2016
Crash has great ambition to be a movie about an important issue, and it is loaded with high-quality actors who aspire to make it a powerful film. Sadly, the end result didn't come out so good. The first big flaw in the movie is that basically all the characters are one-dimensional. No one has any nuance, and you realize within seconds of meeting them whether they are "good" or "bad". Perhaps the best example of this is Sandra Bullock, who plays a horrendous woman that no one would want to interact with at any time from the first moment she opens her mouth. There's very little progression in the story for any of the characters either. Sure, they endure difficult events, but almost no one is actually changed in any significant way. At best we see people are forced to confront their own prejudice, but each individual story cuts off as soon as they reach that point of clarity and we don't see any after effects or growth. This is the part of Crash that bothered me the most, it didn't seem to have a point. I mean, is the point that racism still exists in 2004 L.A.? As if anyone doesn't know that. Perhaps the point is that everybody is racist in some ways, and every race is discriminated against by someone? If that were the case we'd need more authentic characters we could relate to in order to see our own prejudices thrown in our faces. Also, the movie doesn't suggest a way of healing or moving past our prejudices, it just portrays racism as a natural phenomenon that cycles around and will never end. Crash even botches the most powerful moments by obviously foreshadowing them for us, so I wasn't impacted emotionally. It's a bad film made by misguided people who somehow made their point in a way that the Academy appreciated, but I did not.
½ November 28, 2016
I've seen a lot of hate on this movie as being one of the worst Best Picture winners. While I don't think its Best Picture worthy, its still a solid drama. If you take away the expectations that come from the awards its won, its a solid drama that examines societal problems that still resonate today.
October 23, 2016
Puntaje Original: 4.5

Si una pelÝcula logrˇ insultar a cada persona en cada rincˇn del planeta, Ústa fue Crash, y al parecer esta mi*rda logrˇ ganar el Oscar a mejor pelÝcula.
½ October 4, 2016
Cliche, cliche, cliche
October 2, 2016
This was a great movie, very entertaining and had a solid story.
September 23, 2016
Awesome! It was Spectaculare! I've rarely seen a movie like that.
½ September 17, 2016
Written and directed by Paul Haggis, this Best Picture-winner (an undeserving upset over Ang Lee's terrific Brokeback Mountain, a much more noteworthy allegory of human discrimination) drowns in its belligerent vanity and does so pitilessly, nearly pulling the well-intentioned genre -- self-romantic as it is here -- to the cooker with it. In its defense (a half-serious attempt at reconciliation for those who have mounted it as a "classic") it took a couple viewings for me to grow repelled by it -- to be honest, I, like most, was initially swept into acceptance of its audacity by its pinnacle moments -- but, even as soon as the opening frames of my first rehash, the musty stench of its arrogance engulfed me and I was again scooped by the product, this time ashamed at its malice and bewildered by its vindictive nature.


Structurally, Crash is a resounding example of unconformity (though its rearranged chronology is an ever-growing theme and its multi-focal yarn is an age-old cliche of priggish cinema, yet not always implemented by films of such). It is likely to become the template by which many subsequent mystery/thrillers are drawn, though that wouldn't be all that bad: it hooks its audience by immediately proposing a problem to which the answer comes together, piece-by-piece, as the story -- which jumps backwards, then proceeds in real-time, ending with its opening scene -- progresses. As we the audience travel alongside the film's event timeline, our attention is maintained thoroughly by its three climaxes, which are evenly distributed within the film's last half. Yet what is unrealized by a majority of viewers is that while their emotions have been forged and manipulated by these peaks, the movie's story -- and more specifically its script (co-penned by Bobby Moresco) -- runs amok in a cesspool of racially-directed propaganda, which is grossly mistaken for morally-motivated and "necessary" exposure to the cultural/ethnic differences that set aside and bring hardship to the diverse citizens of America (or, in this particular case, Los Angeles).


Crash is a textbook example of exploitation, presented with a slew of disgustingly (and abnormally) xenophobic characters, each of whom spit bigoted slurs as if they were the letters of the alphabet. Simply put, when it tries to address intolerance (which occurs with just about every interaction -- an unfortunate truth), it is smothered rather by its own impudence, which appears more political than it does substantial. In fact, Crash is packed so tight full of asinine stereotypes that, if it exploded into a million pieces, its fragments would have enough false piety in them to supply their own feature-length pictures. The film's self-importance swallows all of its positive qualities (which admittedly are not in short supply and include winning efforts by Don Cheadle, Matt Dillon, Terrence Howard, and Michael Pena) and amasses to an indigestible cinematic experience without the uplift of conciliatory sensitivity or social spotlighting, which it almost embarrassingly thinks it embodies (and forever will, thanks to its three Oscars and national acclaim).
Page 2 of 1548