Haggis' attempt to tackle fraught nuances and strands of debate on race unwittingly reinforces stereotypes. With hindsight, Hollywood has a long way to go in understanding the endemic racial divides it has tacitly helped to prop up. The hubris of a Shakespearean multi-story arc is glaring. Despite some subversive denouements, it is a film that promises more than it delivers. A fair effort but overly revered.
It is so hip to hate on this film, but you know what? It's a lot smarter than most of the critically-lauded dramas of late have been as far as dealing with racism. No firm, easy, black and white division between the morally upstanding minorities and the comic-book-villain privileged folk here -- every single character, regardless of their race, is shown to be prejudiced. Everyone is flawed. Everyone is human.
Crash begins with the deepest social reflection I’ve heard in a while. On smart dialogues, it starts at full speed around racism, but ends mimicking Iñárritu’s Amores Perros trying to make intolerance the cause of various social issues. It cuts corners to get its point across; it only relies on impression and never delves into its characters or their feelings. If you’re into interweaving storylines, this is for you.
Strangely, Sandra Bullock is one of the only things I like about this movie, in addition to the Michael Peña storyline. Otherwise, I was incredibly, incredibly disappointed this won Best Picture (I was rooting for Brokeback Mountain all the way). It is just far too obvious and contrived and is really only saved by the performances.