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Crash is a psychological action thriller set in Los Angeles. Black police inspector Graham Waters and his colleague, as well as his mistress are tasked to investigate a murder. Along the way, he collision with a Korean woman. Secrets and problems are ahead. What await them? Enjoy the film to discover by yourself.
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.
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.
Instead of heartwarming messages about forgiveness, it honours ambiguity and brings us close, closer than is comfortable, in fact, to what Americans today are really thinking about one another.
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.
December 09, 2005
CinePassion
The dramatic tidiness of Crash dovetails the soap operatic strands into a facile contemporary j'accuse without ever addressing how race plays into the ideologies that enforce an oppressive order.
[Haggis] makes his directing debut with a screenplay that often seems rigged and contrived, but comes to life via excellent acting and a philosophical argument that bigotry and benevolence are inextricably intertwined.
[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.