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).
the acting in this movie is brilliant. Michael Pe├┬▒a is such an underrated actor. he brings such raw emotion to every scene. Don Cheadle was also fantastic and heartbreaking in this movie.
Movie is a little preachy bit that's forgivable with such provocative stories. I also believe that this movie has one of the most emotionally wrecking endings of any film ever especially with Don Cheadle and Michael Pe├┬▒a.
Should it have won best picture maybe not, but it is a damn good movie.
And I thought Nightcrawler put me off L.A....Jesus...
So Crash opened up very rocky I must say. As an introduction for characters, Crash literally crashes. Don't expect anyone with a clear good side apart from perhaps Michael Pena. It's difficult to open your film like this, and still pull it back to make a solidly dramatic movie.
Dramatic moments in Crash happen at well paced times. Just as one finishes it allows you a breather to move onto the next one, a twist ant turn that will contradict your emotions and contradict your mindset towards a community standard. It's quite clear that there is a blatant underlying message of how racism isn't black and white but is infectiously universal. And how even though how prejudiced and how much pain you think you are in. Guess what? You can cause some pretty lengthy pain as well. And this is where Crash shines like gold. Some truly gulping scenes that I have no intention of talking about, go check them out for yourself.
Acting and cinematography was structured well. Nothing overly special, but the actors did their jobs well. Particularly from Michael Pena (Once again). He did quite bizarrely have no prejudices, and that may come under influence from his daughter. But if the film perhaps wanted to make an excuse, I would've liked to have seen a little more detail rather than following Sandra Bullocks story in the film. Yes, the same message was set for her but it seemed rushed and choppy. An almost laughable resolution which is disappointing.
Crash leaves some things unsolved, perhaps some things are missing which needed to be added. But it delivers a harsh yet truthful message on racism and other hints of issues in the U.S.A such as healthcare and firearms policies. A relatively heart-pounding feat which gets better as it progresses.
Their are several great moments which made me help the film during the time of the scene : the moment whith the exploding car is great, as the final scene with Sandra Bullock or the touching moments with the character portrayed by Michael Pena and his little daughter.
These moments make me enjoy the movie. But there are too many details that made that I can do more than appreciate this film ; I can't say it is or will be a classic, but if I can't say it deserves the awards it received, I will not make a scandal for it. This is not a great movie, but at least it is a good one in many moments. It would just have been a bit better if they would have give a larger place some figures, instead of mixing all their destinies together - but it is the goal of the screenplay and of this film, so I can't really blame them for it.