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Most Helpful Customer Reviews
32 of 39 people found the following review helpful:
5.0 out of 5 stars
Crash,
By
This review is from: Crash (Widescreen Edition) (DVD)
This is the truest movie out there on racism, and the preconceived notions we ALL (no matter what color) try not to admit to to a certain extent. This was not a "lets bash the white man" movie either, the racism was across the board. The biggest surprise was to come about an hour in, and I was stunned to see the revelation of that storyline (with Matt Dillon). This film requires paying attention to, please stay with it, it will pay off. High recommend!
27 of 34 people found the following review helpful:
1.0 out of 5 stars
Overhyped garbage,
By ws (MN) - See all my reviews
This review is from: Crash (Widescreen Edition) (DVD)
I'll keep this short and to the point. I was told by numerous people that I had to see this film(?). What a waste of time. This is not Magnolia, Short Cuts, or Pulp Fiction. I truly hated this movie. There are many other fine films out there that portray rascism and hatred in a much more realistic and heartbreaking way.
24 of 30 people found the following review helpful:
2.0 out of 5 stars
Unbelievable,
By Hinkle Goldfarb (R.R. 1 Highway 162, Butte City, California) - See all my reviews
This review is from: Crash (Widescreen Edition) (DVD)
Unbelievable that this film should win the Oscar. It's 1-1/2 stars out of four at *best.* Like so much of Hollywood's social commentary, it says much more about the race and class ideologies of the people who made the movie than it does about the society it attempts to portray. I'm not saying it doesn't have its moments, but the manner in which race and class issues were addressed were mostly phony, shallow and stereotyped. At its heart, the movie is just silly, paradoxically made even sillier by its achievement as Best Picture.
Also, basic plotting and storytelling is ignored. High school seniors could write a better plot. Here's a literary example: in Les Miserables, you ever notice how Inspector Javert keeps popping up at just the right moment? You know what that is? I'm sure there's some fancy English Major name for it, but its common term is "unexplained coincidence," a.k.a. "clumsy plot device." Using unexplained coincidences to goose the plot may have been acceptable for 19th century readers, but I think 21st century audiences expect and deserve better. When you look at how films like "Magnolia" and "Pulp Fiction" dealt with intersecting stories, you're looking at at least journeymen screenwriters, who are thoughtful enough to overcome this problem. Not in Crash, oh no. Just stick with the clumsy plot devices right to the end. One cop saves the life of a woman he felt up the night before. His partner, in a different part of town, saves the life of her husband. The husband is carjacked by a robber whose partner is shot by the police officer he met the night before. A cop investigates his own brother's death. Come ON.
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