Haggis wants to implicate us as well as many of his more sympathetic characters in the round-robin of prejudice, so he plays tricks with our expectations, making us retroactively aware of our own prejudices—not unlike the surprise endings of O. Henry. That we can feel pleasure when these twists are revealed sometimes mitigates the deceptions that make them possible. And sometimes it doesn’t.
To sum up the message: "Let’s stop talking to each other, because every word we utter is racist, misogynistic or otherwise politcal incorrect. But if your try really hard the world might be a better place." The score and the use of feelgood music are absolute horrible and detestable. I can’t stand this kind of now-it-becomes-emotional-so-we-put-some-sentimental-music-under-to-help-you-better-realise-attitude.
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.