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
A total of 130,000 screeners were sent out to AMPAS and the various guilds and critics. See more »
Since Daniel already knew Farhad isn't fluent in English, instead of constantly saying he "replaced the lock", why didn't he just say "he fixed the lock", he would've Farhad satisfied as a customer and therefore resolving the misunderstanding and Daniel would be paid for his services. 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 »
"Crash" is a complex movie with a simple premise: set in Los Angeles it
follows 8 main characters (and many, many more supporting) from all
walks of life and races whose lives intersect at some point during one
24 hour period. These people are all different yet all alienated, to
the point of breaking, so much so that when they come together, things
The complexity of the film comes from the encounters between characters
and their tangled lives and worlds. Haggis' screenplay is so intricate
and delicately written I couldn't begin to try to summarize the actual
plot line (which destines this article to be kind of vague), but
everyone meets everyone else at some point in the film (and there are a
whole lot of characters). Sufficed to say these meetings are variably
intense, casual, fleeting, dangerous, but they all effect the
participants in profound and provocative ways, causing lives to find
enlightenment or swerve violently, and watching it all unfold is
mesmerizing because Paul Haggis (Oscar Nominated writer of Million
Dollar Baby) made the film meaty with messy characters and topics and
stories to chew and hurtle along with.
The all-encompassing theme of the film is racism, and it is dealt with
bluntly, honestly, and without reservation. Every single character
participates in the perpetuation of the ugly cycle but also suffers
because of it. Where racism makes for an interesting enough subject for
an already provoking and fairly experimental film (I was surprised to
see this get wide release), it's only the catalyst for a deeper,
resounding story of redemption and the universality of our lonely
situation which the movie becomes during its second hour (what you
could call Act II). It switches from a somewhat depressing
contemplative amalgamation of moments about racism in everyday life and
how destructive it is, to a throbbing, intense web of choices and
consequences -- life and death, vivifying or soul killing -- and the
chance at redemption.
Following their actions in Act I, everyone meets a fork in the road or
is given a second chance of some sort. Some take it, some don't, but
regardless, by the end of the movie everyone has changed. This is what
gives the movie wings during its second hour, makes it interesting,
keeps you guessing and on knife's-edge. It also gives the characters
depth and souls and shows that despite perceived and upheld
differences, when it comes down to it we aren't different (which we see
in a shattering scene between Ryan Philippe and Larenz Tate after Tate
notices that he and Philippe have the same St. Christopher statue), in
fact we desperately need each other. It's one of the few films I've
seen where everyone is at fault somehow and yet there are no villains.
It makes it hopeful, particularly with something as ugly as racism:
everyone's fallible, but everyone has the capacity for good and
nobility. That said, each of these character's inner struggles makes
for all the conflict and resolution you need.
A talented ensemble drives the film, sharing almost equal amounts of
screen time, but the folks who really stood out and had my full
attention each time were Terrence Howard (plays a TV director), Matt
Dillon (as a patrol cop), Sandra Bullock (a rich housewife), , Don
Cheadle (a detective), and Michael Peña (a locksmith). These five gave
deeply, deeply felt performances portraying a wide range of emotions
and personal situations, giving souls -- alone, yearning, and searching
in a world that doesn't seem to care -- to shells of imperfect people.
But the actors triumph in little moments of human contact: a glance, an
embrace, a pause, a smile, a wince, things that breath the film to life
and with simple visuals give it profundity. This is beautifully
illustrated in a small scene between the downward spiraling Jean
(Sandra Bullock) and her maid after she's begun to realize all her
problems may not be about the two black guys who car jacked her, but
her own life.
Some closing notes: it's obvious it's a debut. At times the dialogue
and acting can be stilted and unnatural; some of the initial "racial"
situations seem forced; certain scenes could have used some editing or
fine tuning, but by the end I didn't care. It also may be helpful to
know that the first hour spends its time setting everything up for Act
II, although it will seem more like a photo essay on racism than a
setup. But by the time Act I ends you're ready for something
substantial to happen, and at the perfect moment, stuff happens. I was
entirely satisfied with this movie, I couldn't have asked for anything
more. Still it's impressive, with his debut Haggis made a film that
magically maintains a storytelling balancing act about people's lives
that almost seamlessly flows, takes an honest look at racism with an
understanding of mankind, a belief in redemption, and even hope. As I
walked out of the theater into the rainy night it resonated with me and
colored my thoughts as I made my way through the crowds of unknown
fellow people filling the cinema. That's about all I can ask for in a
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