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 kills his wife, and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact.
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.
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>
Rosanna Arquette worked on this film while she was also working on Gone Fishin' (1997). She flew back and forth between Toronto, Canada and Florida where Gone Fishin' (1997) was filmed. 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 »
[finding Seagrave's cross-dressed body in the middle of a multi-car pileup]
Seagrave? You couldn't wait for me? You did the Jayne Mansfield crash without me?
[sees dead Chihuahua in the back seat]
Aww, the dog... the dog is brilliant!
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The censored version removes the shot of the man kissing Catherine's buttocks in the hangar, as some of the images of her expressing pleasure. See more »
David Cronenberg likes to push the envelope in film. With Scanners, he ushered in a new wave of horror. With The Dead Zone, he gave us horror of a more subdued kind. With The Fly, he remade a sci-fi classic and gave it a new spin. And with Dead Ringers, he explored the strange dual life of twins. With Crash, Cronenberg pushes us, but I don't know what kind of repsonse he was going for. The story concerns James Ballard and a group of crash enthusiasts. After his initial crash, Ballard meets up with Helen Remington and a mysterious man named Vaughn. Ballard is soon introduced to the strange world of car crashes, and the rush of sexual tension. Now I can see where there is a thin line that separates these two acts. Both bring out a strong physical and emotional reaction, but the characters in the film are too detached from life. There is sex without pleasure, and the only way these people can experience pleasure, is through the trauma of an automobile accident. The film moves along at a leisurely pace and nothing ever really happens. There is no dramatic need that these characters have to fill. There is no urgency in their actions and their motivations are clouded, by what I interpret as boredom. Cronenberg has done some fine work in the past, and I think he'll come along and shock us with a truly original film. Until then, stick with the four I mentioned at the top.
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