CORPORATE LINE: A Brentwood housewife and her DA husband. A Persian store owner. Two police detectives who are also lovers. A black television director and his wife. A Mexican locksmith. Two car-jackers. A rookie cop. A middle-aged Korean couple…
They all live in Los Angeles. And in the next 36 hours, they will all collide…
A provocative, unflinching look at the complexities of racial conflict in America, CRASH is that rare cinematic event – a film that challenges audiences to question their own prejudices. Diving headlong into the diverse melting pot of post-9/11 Los Angeles, this compelling urban drama tracks the volatile intersections of a multi-ethnic cast, examining fear and bigotry from multiple perspectives as characters careen in and out of one another’s lives. No one is safe in the battle zones of racial strife. And no one is immune to the simmering rage that sparks violence – and changes lives…
THE GOOD AND BAD: Crash has a huge and very good cast the problem is we don’t get to know any of these characters. Crash covers the many stereotypes we’ve all seen on film and television. The question is: Does Crash cover any new ground or simple retread the same old thing? The answer: No, Crash is merely a retread.
What bothered me most was how each lesson is learned in a Hitchcock-ian style. Every story unwinds and comes together with a dimension of irony and karma. Everything feels forced. Racism is an important topic and it’s too bad we don’t get to know the characters well enough to identify with any of them.
FRANKLY: Crash is a downer. Crash is a good way to leave not with feeling enlightened but simply seeing America not as a place of opportunity but of pain.
+ Charlie Craine
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