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.
The story of King George VI of the United Kingdom of Great Britain and Northern Ireland, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.
Helena Bonham Carter
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
In the years following the release of Crash (2004), director Paul Haggis admitted that his film did not deserve to win the Academy Award for Best Picture over the much-acclaimed and respected Brokeback Mountain (2005). See more »
Partway through Officer Ryan's rescue of Christine from her overturned SUV, the camera ran out of film, as evidenced by film sprockets appearing in the frame. This is an acknowledged goof from director Paul Haggis. 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 film tells several extraordinary stories happening over the scope of a few days and connects them using implausible coincidences. This makes it difficult to suspend disbelief during the entire film. All the stories share the same motif: There is good and bad in all of us, and racism has complex causes. There is little variation and little originality in the presentation of this theme.
I think the makers of the film were aware of this, and tried to make the film more interesting by arranging it chronologically in such a way that the process of the different pieces of the puzzle coming together is meant to be interesting. Both the film title and the introductory dialogue allude to this, but to me it seemed like a poor excuse not to tell rich, conclusive and well-developed stories.
I do appreciate movies that do not follow a simplistic good/evil pattern; I would have liked to see a more developed and refined story of Officer Ryan (Matt Dillon) and his interaction with Shaniqua and his father, for example. But there are too many plot lines to make any single one stand out, and as a consequence, the characters seem artificial rather than realistic. (As a European, I cannot judge whether the individual subcultures portrayed at all resemble reality.) The movie is not "trash" as some reviewers have called it, but it is forgettable and certainly not deserving of an Academy Award. As opposed to "Brokeback Mountain", I doubt anyone will talk much about "Crash" in 20 years.
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