| BBC Reviewer's Rating  User Rating  |
| Crash (2005) |
| Reviewed by Andy Jacobs Updated 12 August 2005 |  Contains strong language and moderate violence |
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It's hard to describe Crash without it sounding earnest. But while this provocative drama tackles racism, class and looking beyond appearances, it's anything but worthy or dull. Following several lives as they, yes, crash together during one day in LA, it's fuelled by powerhouse performances from an outstanding cast. Sandra Bullock is startling as a bitchy housewife, Don Cheadle brings beaten-down grace to the role of a weary detective and, as a racist cop, Matt Dillon's steely presence holds everything together.
Some critics have criticised Crash for its reliance on coincidence. Which, given it's a deliberately structured modern parable, is a bit like damning War Of The Worlds for having aliens. Writer/director Paul Haggis (who scripted Clint Eastwood's Oscar-winner Million Dollar Baby) sets out to address difficult issues: why middle-class whites are afraid of working-class blacks, why being racist doesn't necessarily mean being inhuman, and how politics confuses the truth ("What are you, the ****ing defender of all things white?" yells William Fichtner's scheming internal affairs officer at Cheadle).
"FEW FILMS ARE AS DARING"
It perhaps isn't as accomplished as Magnolia (a great film, which revels in its absurdity) or Short Cuts (another LA story dominated by a twisted cop). But Crash's problems (a self-important score and overwrought finale) pale next to its emotional impact. Few films feature scenes as powerful as the contrasting car clashes between Dillon and Thandie Newton (both moments heart-in-mouth horrifying in different ways ). Few films are as daring. Few films this year are as deserving of your attention.
End Credits
Director: Paul Haggis Writer: Paul Haggis, Robert Moresco Stars: Matt Dillon, Don Cheadle, Sandra Bullock,Jennifer Esposito, Terrence Howard, Brendan Fraser, Chris Bridges, Larenz Tate, Thandi Newton, Ryan Phillippe, William Fichtner The freshsite: Film reviews Crash (2004)
Paul Haggis, penner of last season's Oscar-winner, Million Dollar Baby, combines two of the structurally most tricky approaches to film narrative in his second cinematic feature, Crash: ensemble casting and quilt-storytelling. At its best, this can be remarkably rewarding (notably Todd Solondz' Happiness), but it can also become too daunting and heavy (as with P. T. Anderson'sMagnolia). Haggis, however, manages the trick to both give his characters time and at the same time keep his film tight, largely due to the brilliant editing by Hughes Winborne (who'll be a big Oscar-favourite). That being said, Crash isn't only about structure. This is a movie with an agenda. Not a particularly well-hidden one, but definitely a very well discussed one, as Haggis takes a look at L.A.'s many ethnicities and the clashes between them (at times one might wonder if the entire lives of these people concerns racial issues, but then again, I guess that during a day in a society as multi-cultural as Los Angeles, you do find yourself in quite a few situations). What is remarkable withCrash is how open-minded, examining and multi-layered approach the film takes to this problem. I can't think of a single movie that goes deeper than Haggis does here when it comes to the issue of racism (or any other issue, for that matter). Haggis' script conveys complexity without ever being in pursuit of problems. It is thus one of the most intelligent of the year. At times, Crash is on the verge of overkill, and there are situations in which the characters border on overreacting (which was a more prominent problem with the before-mentioned Million Dollar Baby), but these are only minor details compared to the potency and relevance of this terminally thought-provoking film. The acting is fine all over with particularly wonderful performances by Don Cheadle (who is about to establish himself as Hollywood's leading African-American actor), Terrence Howard, Thandie Newton and Matt Dillon. The latter two enjoy two of the films most memorable scenes together. These, and a couple more isolated scenes are arguable the most dramatically powerful you'll see this year | Length: 113 minutes Cinema: 12 August 2005 Country: USA | |||||||||||||||||||||||||||||||||||||||||||||||||||
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