Crash

There are certainly a few scenes that get under your skin and make you shudder, but as a whole it’s too contrived, too "for effect" (in this respect I experienced the same feelings at the turning point in Haggis's other film Million Dollar Baby), too many coincidences that I found hard to accept, unbelievable behaviour of some of the characters. I didn’t buy it... (10/29/2005)

Find strength, courage, and a clear mind. And let yourself get caught up in the clash. It's harder than it seems, because you might have to overcome prejudices. Not necessarily the racial ones that Haggis talks about, but purely cinematic ones. It requires rising above contrivance, incredibility, or potential calculation. This creative team certainly isn't aiming for that. There were times when I couldn't find a single wrong word to say about Crash, thanks to its sincerity and persuasiveness, and even though I now understand that everything fits together perhaps a bit too easily and not all the storylines are masterfully told, even ten years after its sensational Oscar triumph, it remains painfully relevant and timeless. The actors, the script, the perfectly captivating yet unobtrusive music, and one of the most flawless scenes I have ever seen, "I'll protect you", are responsible for that. And it's a scene that nobody who has seen the film will forget. (10/28/2005)

Crash is perhaps the most honest (and most self-critical) cinematic depiction of a country’s problems. That is probably because Paul Haggis is a sensitive Canadian and is thus able to reflect the environment in which he lives as an expat better than someone who was born there. The film takes a broader view than, for example, 21 Grams, dramatically linking the life paths of several protagonists as it follows their stories from a greater distance without connecting them to a powerful motif. However, it is still emotionally powerful with many strong moments that remain in your memory. It doesn’t judge anyone, nor does it divide the characters into good and evil, instead depicting them as vulnerable beings controlled by dark forces. “You think you know who you are?” (09/29/2005)

Paul Haggis is an incredible talent, hIs script for Million Dollar Baby was fantastic and, after a short time, he repeats his performance and twice so. His direction is brilliant as well, and thanks to him, Crash is one of the best films of the year. The mosaic-like structure of the story is very similar, for example, to 21 Grams, but here it doesn't lose any of its attractiveness or power and forces the viewer to think about every scene that unfolds. The visually cold stylization of dark L.A. is a sure bet, just like the handheld camera. (09/04/2005)

The mirror reflecting contemporary America is perhaps angled in a way so as to provide the most effective reflection, but the whole thing is so believable that it's hard to resent it for that. Haggis's minimalist form achieves the best effect, which is an emotional attack on the viewer. Simple camera work, no directorial gimmicks or excesses, subtle music by Mark Isham, and above all, strong content that, in its own way, lacks a unified plot but instead fragments into a complex mosaic of individual human destinies and leaves an incredibly powerful, realistic, and human impact. Moreover, the strong cast elevates the quality of the film even higher. Still, I can't help but bring up one name - Don Cheadle. He is perhaps unfairly overlooked as an actor, but he proved here that he belongs to the absolute top in his field and that he has no issues taking on any role. Coincidences may not exist, but after watching Crash, one can successfully question that notion. (12/02/2005)