Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
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
Before Ryan Phillippe signed on, Heath Ledger was in talks for the role of Hansen. Ironically, Ledger starred in Brokeback Mountain (2005), the film that lost the Best Picture Oscar to Crash (2004) in a controversial decision. See more »
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.
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The film's title isn't shown until all of the opening credits are completed. See more »
Such A Fine Line Between Oscar and Lifetime Channel Movie...
While this film was well done, I am stunned at both the average voter rating on IMDb and it earning the Best Film for 2005. This is a 'tidy' account of racial conditions in the USA, but no more cutting edge than the content found in any 'All In The Family' sitcom from the 70s. There is little character development, with each being one-dimensional regarding their personal discriminations. If this film is supposed to deliver a message, it was lost in my viewing. It appeared that every character's racial subjectivity was influenced and primarily based on the most recent event with that race. In my opinion, racial conditions have improved and evolved in our country further than this film suggests. Personal discriminations in the film are not subtle and are stereotypical to a fault. It was void of subtleties and wit that truly represent an individual's approach and reaction in real life. Comparing this to the other nominees this year, I wonder what criteria the voters based their vote upon to select Crash as the winner. This would be a 'surf-through' movie if you passed over it on the Lifetime Channel (only A-list cameo appearances save it from this deserved placement). This is a 'one-watch' movie and will likely date itself quickly. I am sure the idea for the film came out of a graduate student's thesis and would work well in stage form with an ethnic cross-section of serious undergraduate drama majors.
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