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 1979.
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
Michael Peña, Don Cheadle, Terrence Howard, and Shaun Toub all have appeared in the Marvel Cinematic Universe with the latter two appearing in Iron Man (2008), but again had no scenes together. Don Cheadle replaced Howard in Iron Man 2 (2010) and Iron Man 3 (2013), with the latter featuring a cameo by Toub. Peña appeared in Ant-Man (2015) as Luis. See more »
When Daniel is leaving his daughter's room after the cloak story scene, he pauses at the door to look at her. The light switch is in the down position and the lights are on. We see the daughter in bed with the lights on, and then cut to Daniel about to leave the room where the light switch is still down, and he pretends to flip it down as the lights go off. 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 »
The two-disc director's cut DVD features an additional two minutes of dialogue and footage See more »
Although the isolation and interconnectedness of automobiles and traffic are (forgive me) one of the driving metaphors of Paul Haggis's film Crash, the experience of the film's characters is more like a roller-coaster, where random strangers are thrown together through twisters and turns of a journey out of there control. A harrowing travail for them, but an impressive thrill for the audience. Equally impressive, perhaps, is the way the large cast quickly and completely inhabit their roles. This film isn't perfect. Haggis relays a bit too aggressively on coincidence, and the over the top emotionalism of a few key characters is a bit grating, Nevertheless, this is a good film that you won't want to miss.
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