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
Lionsgate bought the distribution rights to the film for $4 million at the 2004 Toronto International Film Festival. See more »
When Daniel is putting his daughter to bed, her pastel quilt twice changes position from the periwinkle patterned side to the square and rectangle side. 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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Producers gratefully acknowledge the valuable assistance of The Culbert Family; Members of the Actors Gym, Hollywood, California. 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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