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Crash 2005 R CC

(1,521) IMDb 7.9/10
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Winner of 3 Academy Awards including BEST PICTURE, CRASH takes place in the diverse metropolis of Los Angeles and challenges audiences to confront their prejudices. Lives combust when a Brentwood housewife and her district attorney husband, a Persian shopkeeper, two cops, a pair of carjackers and a Korean couple all converge.

Starring:
Karina Arroyave, Dato Bakhtadze
Runtime:
1 hour, 53 minutes

Available to watch on supported devices.

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Product Details

Genres Drama
Director Paul Haggis
Starring Karina Arroyave, Dato Bakhtadze
Supporting actors Sandra Bullock, Don Cheadle, Art Chudabala, Sean Cory, Tony Danza, Keith David, Loretta Devine, Matt Dillon, Jennifer Esposito, Ime Etuk, Eddie J. Fernandez, William Fichtner, Howard Fong, Brendan Fraser, Billy Gallo, Ken Garito, Nona Gaye, Octavio Gómez Berríos
Studio Lionsgate
MPAA rating R (Restricted)
Captions and subtitles English Details
Rental rights 24 hour viewing period. Details
Purchase rights Stream instantly and download to 2 locations Details
Format Amazon Video (streaming online video and digital download)

Customer Reviews

Most Helpful Customer Reviews

91 of 109 people found the following review helpful By Emily R. Jarrell on September 7, 2005
Format: 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!
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53 of 70 people found the following review helpful By C. Benjamin Brafford on March 24, 2006
Format: DVD
No problem with the talented actors who crowd this film. The story is implausible. Overall message, we are all racist but really, really good super nice, too! In brief, the white DA, his wife, and young racist cop get or get away with everything they want. Both the African-American Detective and the TV Producer sacrifice their integrity to keep their jobs and their white bosses happy. The store owner gets away with attempted murder as the Locksmith does not call the police after his daughter---wearing a magical protective cloak---is shot in the back by blank bullets. (I know.) The TV producers's wife is molested by a white racist cop... the following day they meet again (fortuitous) so the cop can save her in order to redeem himself. She disappears from the film (until a tidbit at the end) as her role in HIS redemption is complete. The racist cop sacrifices his own father's help because he does not seem to realize what an ER is for and he sabotages his Father's medical care on order to punish a HMO worker for taking jobs of whites...how many times have you seen that one on TV? Speaking of ripoffs, the DA's wife actually steals from Driving Miss Daisy when she inexplicably says to her maid, "You're my best friend." Most of all, Ludikris smiles smugly after he releases illegal immigrants the back of a van he stole from a human-trafficker he drove over earlier in the film. That smug smile is for the viewer share with the carjacker: a sense of.."ah, we are all such good people, and its good to know that racism is still a problem, but we can all get along can't we?" Horribly over-rated film. I assume individuals react to the constant hammerring of intense drama or focus on the message aspect of the film. A few critics listed it on their worst films of 2005 list. For what it pretends and fails to do in terms of addressing racism, it belongs on those worst lists.
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48 of 64 people found the following review helpful By D. Mills on August 14, 2006
Format: DVD
I passed up this film when first released on DVD but by hook or by crook, not to mention a nod from the Academy, I decided to give it a look. I was an entertaining two hours, but the in-your-face treatment of racial tension (is that ALL they talk about?), followed by self-congratulatory featurettes in which the film's creators convince us they are doing us great social service by making folks of every persuation confront their prejudice, reek of naivete and opportunism. (The 'Introduction to Crash by Director Paul Haggis' feature warranted its own icon, but consisted only of Haggis grinning in a self-satisfied manner and informing us that he was director Paul Haggis and here was HIS film, Crash). Am I supposed to take a deep breath? Make the popcorn? Take a potty break?

The film looks fine, sounds fine and is well-acted, and other reviews here will outline the who-and-what, so I'll merely leave you with a parting thought. A few years ago, a black man named Rodney King was severely beaten by LA cops. The incident was caught on camera and the police were initially acquitted by a largely white jury. This resulted in rioting in African-American neighborhoods, which cost one caucasian truck driver his life (wrong place, wrong time)and ruined many a business in the area (many owned by Koreans and Asians). If that true-life sequence of events didn't lead to revolutionary changes in people's attitudes (on all sides), an over-rated, but watchable, feature film will not begin to scratch the surface, despite its makers' smug post-Oscar posturing.
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15 of 19 people found the following review helpful By Dean Backus on March 30, 2006
Format: DVD
A great cast and good intentions make most of this film go down easily--too easily. Don Cheadle, Sandra Bullock, Matt Dillon, Thandie Newton and Terrence Howard do sterling work in this tale of culture clashes, prejudices, and coincidences in Los Angeles, and scene by scene the film is gripping with some amazingly powerful and poignant moments. However, the script's desire to throw stereotypes up on the screen, while brave, is also its weakness: too many of the overwhelmingly large number of speaking parts are, in fact, stereotypes, and no amount of happy wish-fulfillment or well-intentioned scenes that come across as patronizing (an injured Bullock embracing her Latina housekeeper and telling her she's her best friend) can paper over the fault lines the film purports to examine. Cheadle, as he was in "Hotel Rwanda," is the throughline of the movie, and his knockout final scene with his mother has a dramatic punch and ambiguity that the rest of the movie needs; too often, it feels like something that would've been incendiary in the mid-90's after Rodney King and O.J. (especially if Spike Lee had tackled it), but now seems simultaneously overwrought and tame. You'll admire the performances (a deserving SAG win), but the more you think about the movie as a whole, the more it seems too tidy--and putting it up against the brainy "Good Night and Good Luck" and the shattering "Brokeback Mountain," it's flaws are even more apparent, especially the awful video quality. It's a water-cooler "buzz" film right now (thanks to the Oscar idiocy), but how it will stand up over time is a very big question mark--it was #36 in Entertainment Weekly's year-end critic's roundup, and #56 in PREMIERE'S. ("Brokeback" and "Good Night" were #2 and #3, respectively.) Good for high school civics classes if they can get past the (voluminous) profanity, and for those more interested in praising the film's reach over its actual grasp.
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