Product Description

They all live in Los Angeles. And in the next 36 hours, they will collide.

Product Details

• Amazon Sales Rank: #2903 in DVD
• Brand: Lions Gate
• Released on: 2005-09-06
• Rating: Unrated
• Aspect ratio: 1.85:1
• Formats: Closed-captioned, Color, Dolby, DVD, Subtitled, Widescreen, NTSC
• Original language: English, Korean, Persian, Spanish
• Subtitled in: English, Spanish
• Number of discs: 1
• Dimensions: .20 pounds
• Running time: 112 minutes

Features

• This compelling urban thriller tracks the volatile intersection of a multiethnic cast of characters struggling to overcome their fears as they careen in and out of one another's lives. In the gray area between black and white, victim and aggressor, during the next 36 hours, the will all collide. Format: DVD MOVIE Genre: MYSTERY/SUSPENSE Rating: R Age: 031398179382 UPC

Amazon.com
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)

From The New Yorker
A brazenly alive and heartbreaking film about the rage and foolishness of intolerance-the mutual abrasions of white, black, Latino, Middle Eastern, and Asian citizens in the great and strange city of Los Angeles. The movie starts off with separate vignettes in which the characters run afoul of each other, say things better left unsaid, and get into terrible trouble. Later, they cross paths again, sometimes in bizarre coincidences that feel exactly right; some of these scenes play out at the edge of insanity, where contentiousness spills over into tragedy or farce. The furiously candid screenplay was written by Paul Haggis and Robert Moresco, and the picture was directed by Haggis, who, in his first time out as director, demonstrates an amazing skill with actors. Don Cheadle, as a withdrawn, melancholy police detective, is the star, and the other players include Terrence Howard and Thandie Newton as an upper-class African-American couple, Brendan Fraser and Sandra Bullock as an L.A. district attorney and his bitchy wife, Chris (Ludacris) Bridges and Larenz Tate as carjackers, Matt Dillon and Ryan Phillippe as cops, and Shaun Toub as an Iranian shopkeeper who thinks everyone is out to cheat him. The gentle electronic score is by Mark Isham. -David Denby
Copyright © 2006 The New Yorker

Customer Reviews

Is the Academy kidding with this?
Like a bad student film with big-name stars in its cast, Paul Haggis' puerile and self-important "Crash" is a masterpiece for the easily impressed. Filled with bathos and bombast, and more implausible coincidences than an 800-page novel by Charles Dickens (and no offense meant to Mr. Dickens), "Crash" plays less like a movie and more like some underachiever's dissertation for a Sociology course entitled Racism 101. (Racist white cop fondles black woman in front of her husband at routine traffic stop...pause projector...discuss what this scene shows about racism in our society...resume film...same racist white cop pulls same black woman to safety from burning wreckage...pause projector...discuss what this scene says about the possibility of redemption for every individual...etc.). Astonishingly, this piece of mealy-mouthed claptrap won the Academy Award for the Best Picture of 2005.

Cribbing its interlocking, multi-character format from "Short Cuts," "Grand Canyon," "Magnolia," "13 Conversations About One Thing" and a whole host of other similar but far superior films, Haggis' work purports to tell us that everyone - and I mean EVERYONE - living in Los Angeles is a thoroughgoing racist and bigot and, even more amazingly, spends twenty-four hours a day giving voice to their prejudice. Forget about political correctness; these people talk about race, race and nothing but race for nigh unto two hours in ways that show that Haggis is completely tone deaf when it comes to how people in the real world actually speak. This is a movie devoid of a single plausible moment (you know that verisimilitude is not high on this film's agenda when it starts snowing in Los Angeles!); it's a movie in which characters act completely without reason or motivation and in which every event that happens, no matter how idiotic or ridiculous, does so in the service of the message. On the level of dramaturgy alone, "Crash" is an unmitigated disaster and a blueprint for how not to make a movie.

Unfortunately, as "Crash" itself begins to crash and burn, an awful lot of fine people wind up getting trapped inside the wreckage. A largely talented cast is wasted on an assortment of poorly written, shallow characters, and Haggis has no idea of how to create either drama or tension in any of the scenes he shows us. The moody score by Mark Isham does its best to make it all seem powerful and important, but the sheer incompetence of the writing and directing rob the film of both those qualities. Indeed, rarely has a movie been as full of itself as "Crash" is, and rarely has a movie explored such a serious and important subject in as pretentious and superficial a manner. Perhaps the most insulting aspect of the film is how easily it bestows redemption on even its most wretched characters, as if all of life's problems could be so easily wrapped up in time for the closing credits. As others before me have pointed out, this is indeed a "feel good" movie about racism, the very last thing a movie about racism should ever be.

If you can buy a film in which an assortment of whiney, unappealing characters hurl racial invectives at one another for an hour and a half, then turn around and throw themselves into each others' arms in time for the tear-stained finale, then "Crash" may be the movie for you. But if you find yourself laughing rather than weeping through the course of the story, don't say you hadn't been warned beforehand.

What could all the fine folk in the Motion Picture Academy have been thinking?

At best a made for TV movie
Stereotypical 2-dimensional characters; unbelievable plot line; left me totally cold after I saw it. I forgot it 5 minutes after the movie was over and never even talked about it with friends. It did not touch me or move me at all like BrokeBack Mountain and Capote did. Can't believe it won best picture over the other 4 nominated movies. Walk the Line wasn't even nominated and Crash ended up on many critic's 10 worst movies list. What a joke. I think every unemployed actor and actress in Hollywood was in this movie and that's why it won. The American public and the Academy knows it made an embarrassing mistake naming this the best picture.

BEST PICTURE?
CRASH has its absorbing sequences, and as many reviewers have mentioned, it has more than passing resemblance to MAGNOLIA, which is superior in every way. The subject of race in today's America is certainly a noble subject to bring to life in a movie - the issue with this film is that it is didactic, completely predictable and way too clever to be even remotely believable. Each performer is given two specific qualities- their racist self and their human self. And just like a nifty puzzle, all of these sides come together in a rather absurd stew by the time we get to the "revelations" sequence at the end. The musical score and cinemtography are so purposely dramatic and harsh that they end up becoming overbearing. How on Earth did this forgettable, uninvolving movie EVER win Best Picture?