After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
Riding across Manhattan in a stretch limo in order to get a haircut, a 28-year-old billionaire asset manager's day devolves into an odyssey with a cast of characters that start to tear his world apart.
A man tries to uncover an unconventional psychologist's therapy techniques on his institutionalized wife, while a series of brutal attacks committed by a brood of mutant children coincides with the husband's investigation.
Since a road accident left him with serious facial and bodily scarring, a former TV scientist has become obsessed by the marriage of motor-car technology with what he sees as the raw sexuality of car-crash victims. The scientist, along with a crash victim he has recently befriended, sets about performing a series of sexual acts in a variety of motor vehicles, either with other crash victims or with prostitutes whom they contort into the shape of trapped corpses. Ultimately, the scientist craves a suicidal union of blood, semen, and engine coolant, a union with which he becomes dangerously obsessed. Written by
Matt A. Knapp <firstname.lastname@example.org>
In the UK this film is banned from sale or theatrical exhibition within the city of Westminster (London), although it is possible buy the DVD in greater London and (in theory) see the film at a cinema outside of Westminster (this was true at the time of cinematic release). Also, similar theatrical bans were placed in other parts of the UK cities (including Chester, Cardiff and Durham to name a few...) See more »
After Vaughan repeatedly crashes the left front bumper of his Lincoln into a junker James Ballard is sitting in, causing major damage to the bumper and the lights, Vaughan is soon shown driving on the highway with no damage to the bumper and both left lights operational. See more »
[talking into microphone as he walks around the car]
Don't worry. That guy's gotta see us. Don't worry. That guy's gotta see us... These were the confident last words of the brilliant, young Hollywood star James Dean as he piloted his Porsche 550 Spyder race car toward a date with death along a lonely stretch of California two-lane blacktop Route 466... Don't worry that guy's gotta see us. The year... 1955. The day... September 30. The time... Now. The first star of our show is Little Bastard. ...
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David Cronenburg's interesting but flawed film 'Crash', adapted from James Ballard's novel (Ballard also gives his name to the leading character), attracted huge amounts of controversy on its release and has one of the most striking voting profiles on IMDB that I have seen - also equal returns for every number from 1 to 10. In fact, there's a lot of admire in this sweaty, atmospheric adaptation that perfectly captures the sense of heightened alienation that charactersises much of Ballard's prose. While among the cast, Deborah Kara Unger is sexy as always, Elias Koteas is suitably creepy and even James Spader is kind-of OK, if you don't mind him doing that "lost little college boy grown up to be a pervert" thing that he first perfected as Graham in 'Sex, Lies, and Videotape', a role he basically reprises here.
But - and let's get real for a minute - this is a film about people who are turned on by car crashes! Now, what the hell is that all about? If you ask me, the film is trying to say something about the need for transgression in an age with no real taboos - so its characters push at an endlessly receding door, until in the end only death itself can offer a way out. The problem is that the film suffers from the same problems as the world it portrays - these people have no moral rules, so their actions carry no implications beyond themselves - which leaves us with an idea, with happenings, but no narrative "drive" as such. Without anything to set against their nihilistic desires, 'Crash' coveys no sense of tragedy; just driving around in cars, with sex.
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