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Crash
This exciting film tells a story that looks more dramatic and romantic through a set of scenes from Graham Waters. A police inspector named Graham Waters was assigned to him and his colleague as well as his mistress to investigate a recent murder in Los Angeles. Continuing this exciting case, Graham confronts a beautiful Korean woman, both of whom begin a new life full of unexpected secrets and events.
4 June 1956, Harlem, New York City, New York, USA
24 April 1928, New York City, New York, USA
29 March 1955, London, England, UK
27 July 1996, California, USA
18 February 1964, New Rochelle, New York, USA
30 March 1975, Tehran, Iran
10 September 1970, Hollywood, Los Angeles, California, USA
22 February 1975, Portland, Oregon, USA
7 November 1966, Brooklyn, New York, USA
11 July 1946, Chicago, Illinois, USA
10 September 1974, New Castle, Delaware, USA
11 September 1977, Champaign, Illinois, USA
18 December 1966, Kansas City, Missouri, USA
February 23, 2015
[Haggis] makes his directing debut with a screenplay that often seems rigged and contrived, but comes to life via excellent acting and a philosophical argument that bigotry and benevolence are inextricably intertwined.
February 23, 2015
Crash is a movie with problems, but those simply make Haggis' vision, his clear reflection of us, so powerful.
December 09, 2005
It's smart, therefore, that Haggis has written such novel, precisely observed, often unpleasant characters as the ones Bullock, Dillon, and Cheadle inhabit.
February 23, 2015
The dramatic tidiness of Crash dovetails the soap operatic strands into a facile contemporary j'accuse without ever addressing how race plays into the ideologies that enforce an oppressive order.
February 23, 2015
[Crash] is sharply observed and frequently extremely funny as well as artfully orchestrated.
February 23, 2015
Crash has its moments of wrenching tragedy and chaotic, overcrowded drama, mitigated by flashes of caustic humor and insights of stark truth.
January 06, 2014
Ultimately, Crash succeeds in spite of itself. Its color war starts to feel obvious and schematic. Its coincidences and cliches become like a pileup on the 405 freeway, but there it is -- you find yourself rubbernecking and can't manage to look away.
February 23, 2015
Instead of heartwarming messages about forgiveness, it honours ambiguity and brings us close, closer than is comfortable, in fact, to what Americans today are really thinking about one another.
September 26, 2005
Any relation to persons living or dead is purely coincidental.
February 15, 2013
Haggis moves seamlessly between all these stories and has structured them in such a way that his characters reach a crisis point simultaneously, followed by melancholy clarity.
February 23, 2015
[Crash] is familiar enough that it slips easily into our film-watching faculty without any fuss, yet [Haggis'] handling of it -- his muscular belief in what he is doing -- makes us hope that his next screenplay will be a bit less safe.
July 07, 2010
Haggis shows a lot of promise as a director: his film is never dull. But he needs to unlearn some of the bad lessons he picked up working in TV, which demands that everything be neat, symmetrical and underlined.