A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
Over a thirty-six hour period in Los Angeles, a handful of disparate people's lives intertwine as they deal with the tense race relations that belie life in the city. Among the players are: the Caucasian district attorney, who uses race as a political card; his Caucasian wife, who, having recently been carjacked by two black men, believes that her stereotypical views of non-whites is justified and cannot be considered racism; the two black carjackers who use their race both to their advantage and as an excuse; partnered Caucasian police constables, one who is a racist and uses his authority to harass non-whites, and the other who hates his partner because of those racist views, but who may have the same underlying values in his subconscious; a black film director and his black wife, who believes her husband doesn't support their black background enough, especially in light of an incident with the racist white cop; partnered police detectives and sometimes lovers, one Hispanic female ... Written by
In the part where Officers Ryan and Hanson pull Cameron and Christine over, towards the end of the scene when Officer Ryan walks back to the driver side, a shot is seen of him entering the vehicle. When a later, wider shot takes place, Officer Ryan is seen leaning inside the vehicle from outside, and then opening the door and entering the police car. See more »
It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.
See more »
Producers gratefully acknowledge the valuable assistance of The Culbert Family; Members of the Actors Gym, Hollywood, California. See more »
The film tells several extraordinary stories happening over the scope of a few days and connects them using implausible coincidences. This makes it difficult to suspend disbelief during the entire film. All the stories share the same motif: There is good and bad in all of us, and racism has complex causes. There is little variation and little originality in the presentation of this theme.
I think the makers of the film were aware of this, and tried to make the film more interesting by arranging it chronologically in such a way that the process of the different pieces of the puzzle coming together is meant to be interesting. Both the film title and the introductory dialogue allude to this, but to me it seemed like a poor excuse not to tell rich, conclusive and well-developed stories.
I do appreciate movies that do not follow a simplistic good/evil pattern; I would have liked to see a more developed and refined story of Officer Ryan (Matt Dillon) and his interaction with Shaniqua and his father, for example. But there are too many plot lines to make any single one stand out, and as a consequence, the characters seem artificial rather than realistic. (As a European, I cannot judge whether the individual subcultures portrayed at all resemble reality.) The movie is not "trash" as some reviewers have called it, but it is forgettable and certainly not deserving of an Academy Award. As opposed to "Brokeback Mountain", I doubt anyone will talk much about "Crash" in 20 years.
14 of 18 people found this review helpful.
Was this review helpful to you?