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 »
Haggis' directorial debut is a powerful and thought provoking look at a slice of LA life. In some ways, with its multi strands, it reminded me of some of Altman's "Nashville". The film successfully pulls all the strands together to make some pertinent points about different races fearing and misunderstanding each other without resorting to platitude too much.
On the flip side I found it schematic, too reliant on coincidence and frequently implausible (it would seem that there are only 5 cops including Officers Dillon and Phillipe in the whole of LAPD). At some points the film begins to bow under the weight of its own ambition - I would usually say that is a good thing, but here I felt that less incident would have given the characters more space to breath and come alive for the viewer. At times I felt that the characters moved from interesting 3D portrayals to screenwriters mouthpiece and this distanced me from an otherwise powerful film We need intelligent and provocative cinema and, in many ways, Crash delivers but I still think that it has been overrated by an audience desperate for something more than the usual popcorn fare
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