Crash (Full Screen Edition)
by Paul Haggis
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DVD details
Actor: Dato Bakhtadze, Don Cheadle, Karina Arroyave, Sandra Bullock, Thandie NewtonDirector: Paul Haggis
Brand: Lions Gate
Cinematographer: J. Michael Muro
Editor: Hughes Winborne
Producer: Marina Grasic
Producer: Jan K?rbelin
Producer: Tom Nunan
Producer: Andrew Reimer
DVD: Region Code 1
Audio: English (Original Language), Dolby Digital 2.0; Korean (Original Language); Persian (Original Language); Spanish (Original Language); English (Subtitled); Spanish (Subtitled)
Format: Closed-captioned, Color, Dolby, DVD-Video, Full Screen, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 122 minutes
DVD Release Date: 2005-09-06
Audience Rating: Unrated
Studio: Lions Gate Films
DVD Reviews of Crash (Full Screen Edition)
DVD Review: Keep alert against the creeping poison of prejudice or you, too, may Crash!
Summary: 5 Stars
Apparently, I like others was skeptical about watching the movie Crash, because I had heard that it was a movie about prejudice and how it impacts the lives of those that are the target of prejudice. Certainly the knowledge that prejudice is bad and has a huge impact on its targets should not be new to any of us that consider ourselves human. My suspicions about how viewers perceived this movie was confirmed by a quick scan I did of a number of reviews for Crash published online. I suspect that as with all things human, especially where emotion is involved, there is more to the story than the obvious lesson that prejudice is bad and we should not allow ourselves to be caught in its grasp.
Crash as a movie focuses on a number of events that at first seem unrelated, but are eventually tied together in a neat package. As we watch these events unfold, we see pernicious, insidious prejudice show its ugly face. The white police officers stop the black couple and engage in reprehensible actions, because they feel they are entitled since they are white and policemen. An Iranian immigrant, who is concerned about his security and the security of his family at his store, hires a Hispanic locksmith to fix the lock on his door. The locksmith tells him that he can fix the lock, but that he really needs a new door. The man becomes irritated and tells the locksmith to only fix the door and not the lock, which he does. That night the store owner's store is vandalized in an apparent act of prejudice. When he discovers the vandalism the next day and the fact that the perpetrators broke in through the door he had just fixed. He becomes irate at the man who fixed the lock and sets out to punish him. At this point a miraculous event will turn the events around and reveal some hope, while another shocking event will unexpectedly take place to show how easy and disastrous it is to fall in to the trap of stereotyping and prejudging people. These are few examples of set of events that we see in Crash that get woven together. I could describe others as well, but to do so would be tedious and pointless.
Clearly as so many others have written in their reviews this movie is about prejudice and as we all know prejudice is a bad thing; it corrupts our souls and our humanity. Why then make yet another movie about prejudice? To take that position is, I think, to have fallen squarely into the trap laid by the director of Crash. Those who have formed their own prejudices about the movie based on what they think it is telling us, have missed the fundamental point; that prejudice can creep into us even when we think we are not prejudice. Keep alert against the creeping poison of prejudice or you, too, may Crash!
DVD Review: great movie
Summary: 5 Stars
i've had this movie several times and everytime i lend it never get it back so i had to have it again. great movieDVD Review: Treats The Audience As If They Were Stupid
Summary: 1 Stars
I know this is an Oscar winner and that it's got tons of fans but I felt like this movie was being force fed to me. I get it: Racism is bad and coupled with coincidence, its worse.
To it's credit, there are some touching scenes between the Michael Pena character and his daughter but it wasn't enough to save the film.
I'm not sure how other people don't see it-this movie feels so much more contrived than it should. Paul Haggis' other script, 'Million Dollar Baby', is equally forced and contrived, both stories seem to eliminate logic and subtlety in a way that makes it's potential meaning feel shallow and trite.
I'd recommend 'In the Heat of the Night', 'American History X' or 'Amorres Perros' over 'Crash' any day. The latter of those three is not race-related but it's three tales all take place around one accident and is done more skillfully than 'Crash'.
DVD Review: I was skeptical, but...
Summary: 4 Stars
Wow, where to begin? The opening scenes of Crash made me roll my eyes and hate it. Back in the day I had a neighbor (a white female) who believed that there was no such thing as a non-racist white person, and that we should all pay some sort of tax to the black people for our continuing racism towards them. Well, the beginning of Crash seemed like it was filmed by that exact kind of illogical, paranoid, guilt-tripped person. To add to that, I live in New York City, considered by many to be the most obnoxious place on earth. I've lived here for 15 years, and I'm yet to hear someone - anyone! - making fun of a black person for riding a bus, or because their name is "Snaniqua". I've never seen a Chinese person yell anything about "those %&$(@& Mexicans". I currently live in a multicultural neighborhood where Italian, Arab, Chinese, Latin American and Russian people co-exist without racial bias. I've lived next to about five Arab-run delis for years, and none of them has ever been vandalized. Maybe L.A. is different, but somehow I find it hard to believe.
That said, the stereotypes in the beginning of Crash made me wonder whether it was worth my time to continue with it. I was sure it would end up being a 1-star movie for me. However, as the movie unfolded, it became something completely different, and ended up making a tremendous impact on me. I'm not normally a fan of those overblown dramas that Hollywood loves to push as "important" and "groundbreaking", but Crash was a surprisingly well done, beautiful and moving film that touched something deep inside my heart. People who believe this movie is about racism are wrong. It's about humanity that we all share, regardless of skin color or background. Racism is nothing but veneer, an excuse people use to find faults in others. And when push comes to shove, for most of us it's nearly not as strong as what connects us all as human beings. This is an absolute must-see.
DVD Review: Don't buy the hype, and don't buy this film!
Summary: 2 Stars
By almost every metric Crash defies classification as a bad film. The acting is excellent all around, the production is clearly big-budget, and the theme, racism, is anything but trivial. The fact that it IS a terrible movie despite all it seems to have going for it makes the disappointment that much more acute.
Watching Crash is like getting smashed on the head repeatedly with a mallet while someone shouts "RACISM IS BAD! EVERYONE IS A RACIST! YOU ARE SOMEONE SO YOU MUST BE A RACIST! YOU ARE BAD!". This goes on for about two hours.
If that weren't bad enough someone else is repeatedly kicking you in the groin while shouting "THIS FILM IS OSCAR WORTHY! IT REALLY IS! THE ACADEMY SAYS SO!"
I don't want to trash the Oscar process here, but suffice it to say that Crash was well served by an intensive (and expensive) Oscar campaign, so don't let the best-picture award fool you. Crash is actually just a formulaic drama that handles a delicate topic with less skill than a drunken Irishman handles sentence structure. In Swedish.
The heavy-handed treatment of racism means that you'll see the protagonists, who are essentially one-dimensional racial stereotypes, thrown into absurd situations that force them to confront the reality of their own racist attitudes. While this goes on a subtle soundtrack emphasizes the emotional detachment of the characters, rising to a crescendo only in scenes that might look good as sound-bytes for the Oscar Ceremony. As a viewer you're supposed to understand that this is all very sad and serious, but you're really just being manipulated into opening your mouth so they can shovel more bull**** down your throat.
What Crash does best is to employ cool artistic and narrative styles it filched from far better films. You have the split storyline covering 3 or 4 independent narratives simultaneously , the tangential associations between characters that tie the narratives to each other, and the frequent use of filters to alter colors to parallel the emotional context of the scene.
If the narrative itself had been handled with any sort of nuance then the stylistic imitations could be easily forgiven, but the focus of this film was never to tell a good story, but to wrap it in an Oscar worthy package. They succeeded in pushing this past the judges, but that doesn't mean you have to waste your money on it too. Don't buy the hype, and don't buy this film!
Description of Crash (Full Screen Edition)
They all live in Los Angeles. And in the next 36 hours, they will collide.Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer
Stills from Crash (click for larger image)
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