Cheap Crash (Widescreen Edition) (DVD) (Paul Haggis) Price

Related Products

Customer Reviews of Crash (Widescreen Edition)

Uncrash!
The human element, the touch of our lives everyday. The director of Crash did a superb job to bring all of the pain, love, race animosity, ignorance toward indifference and the human attachment and approval what all of us so much desire all into one unforgettable movie.

Crash Course
I remember being at an Oscars party here in San Francisco the year this movie won the Academy Award, and the shout of dismay that went through the room when "we" were cheated out of an Oscar for Brokeback Mountain. One fellow explained to me that the Oscars were voted on by a bunch of wealthy white people in Beverly Hills who were scared out of their minds by the prospect of being carjacked by blacks with guns. And that's why CRASH won, out of a superstitious dread reckoning. Then why didn't BONFIRE OF THE VANITIES win, fool--asked I--instead it's been universally reviled as one of the worst movies of all time. <
> <
>They had plenty of answers to that one, but on the whole I was satisfied with the explanation fed me. But finally I got to see CRASH on DVD and I was pleasantly shocked to find myself enjoying every moment! OK, so it was pretty preposterous, and OK, maybe white people like William Fichtner don't unleash their racial prejudices on black men like Don Cheadle every day of their working lives. I found CRASH an interesting meta-movie, not so much about race as about the whole idea of "interlock" especially as it has become the common language to movies today. <
> <
>Seems like every other picture you see is all about, picking up the loose ends from act one and resolving them in some unexpected way--and that's all they're about. If a girl gets up in the morning, and the camera shows her choosing between a red dress and a white dress at her closet, and she picks the red dress, by the end of the movie there will be a scene that is supposed to make you cry out, "She should have picked the white dress!" Indeed no image in cinema is photographed without a planned payoff, and that's why US movies are so by the book, even the cleverly juggled ones like PULP FICTION, and now CRASH. When the Persian liquor store owners ask their beautiful, professional daughter what time she has to go to work, and she replies, "Not until ten," there isn't a movie goer alive who doesn't know that-- much later on in the movie--her occupation will be a crucial reveal in the movie. When Don Cheadle's bleary-eyed, Ethel Waters of a mother moans about "Don Cheadle, when are you going to bring home your little brother?" we just know there's going to be more about the brother, and smart moviegoers are taking bets on which character is was going to turn out to be. At first I was sure it was Sandra Bullock, perhaps passing for white to pose as the "wife" of slick DA Brendan Fraser, constantly snappish maybe to conceal the fact that "she" was really a light-skinned black man. I still think that would have been a better ending than the one we got. <
> <
>But nevertheless did I like this, or Cronenberg's CRASH better, I say this. Both pictures may play equally to the racial fears of white North Americans, but at least this one didn't have James Spader, who must have been busy when they were casting for Brendan Fraser's part, which I consider a break for everyone involved.