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
When Cameron pulls over to the street corner to let Anthony out of the car (after their run-in with the police,) you can see Anthony's legs getting out of the car. Then they are back in the car talking and only then does Anthony get out. 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 »
Lives, ordinary lives, vital part of a city where, I'm sure, the devil has him home. Contradictory, awful, enlightened, confused. There are so many good moments in "Crash" that I felt the need to see it again less than 24 hours later. Matt Dillon lead us through his own contradiction with the humanity of someone who knows he carries something rotten inside. The explosive dissatisfaction that permeates Sandra Bullock's life is ferociously real and the frustration of Thandie Newton's character is a first on the screen. We've never seen it quite like that and her performance will stay with me. Larenz Tate personifies both sides of the equation, the one who understands but goes against his instincts, and still there are chilling flashes of innocence in his eyes -- his performance reminded me of the wonderful "Seeds Of Tragedy" were his innocence was intact. The problem with "Crash" and it is problem is that remains a rather shallow affair. Cleverly put together but epidermic at best.
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