Critic Consensus: A raw and unsettling morality piece on modern angst and urban disconnect, Crash examines the dangers of bigotry and xenophobia in the lives of interconnected Angelenos.
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Critic Reviews for Crash
[Crash] is familiar enough that it slips easily into our film-watching faculty without any fuss, yet [Haggis'] handling of it -- his muscular belief in what he is doing -- makes us hope that his next screenplay will be a bit less safe.
Ultimately, Crash succeeds in spite of itself. Its color war starts to feel obvious and schematic. Its coincidences and cliches become like a pileup on the 405 freeway, but there it is -- you find yourself rubbernecking and can't manage to look away.
Haggis moves seamlessly between all these stories and has structured them in such a way that his characters reach a crisis point simultaneously, followed by melancholy clarity.
Haggis shows a lot of promise as a director: his film is never dull. But he needs to unlearn some of the bad lessons he picked up working in TV, which demands that everything be neat, symmetrical and underlined.
It's smart, therefore, that Haggis has written such novel, precisely observed, often unpleasant characters as the ones Bullock, Dillon, and Cheadle inhabit.
Audience Reviews for Crash
The deserving winner of the Oscar for Best Picture in 2006 is this spectacular morality study on racism, intolerance and xenophobia, and it probes into those loathsome sores of society in such a powerful and unsettling way, to show us that there are no easy solutions for them.
After re-watching this, I have to conclude that it did not deserve the Oscar for that year. Nevertheless, it is definitely worth watching.
Solidly entertaining racial soap opera melodrama.
|Anthony:||Time is money.|
|Graham Waters:||It's the sense of touch.|
|Graham Waters:||In the real city you… you walk. You know? You brush past people. People bump into you. In L.A. nobody touches you. We’re always behind this metal and glass. I think we miss that touch so much that we crash into each other just so we can feel something.|
|Graham Waters:||In the real city you, you walk, you know? You brush past people. People bump into you. In L.A. nobody touches you. We're always behind this metal and glass. I think we miss that touch so much that we crash into each other just so we can feel something.|
|Daniel:||So she reaches into her backpack and she pulls out this invisible cloak and she ties it around my neck. And she tells me that it's impenetrable. You know what impenetrable means? It means nothing can go through it. No bullets, nothing. She told me that if I wore it, nothing would hurt me. So I did. And my whole life, I never got shot, stabbed, nothing. I mean, how weird is that?|
|Graham Waters:||Well, fuck you very much. But thanks for thinking of me|
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