Crash (Full Screen Edition) |  | Director: Paul Haggis
Actors: Don Cheadle, Sandra Bullock, Thandie Newton, Karina Arroyave, Dato Bakhtadze
Studio: Lions Gate Films
Category: DVD
List Price: $14.98
Buy Used: $1.13
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Rating:  1022 reviews
Sales Rank: 18703
Format: Closed-captioned, Color, Dolby, DVD, Full Screen, Subtitled, NTSC
Languages: English (Original Language), Korean (Original Language), Persian (Original Language), Spanish (Original Language), English (Subtitled), Spanish (Subtitled)
Rating: Unrated
Region: 1
Aspect Ratio: 1.33:1
Number Of Discs: 1
Running Time: 112 Minutes
Shipping Weight (lbs): 0.3
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 031398183426
UPC: 031398183426
EAN: 0031398183426
ASIN: B000A3XY5K
Theatrical Release Date: May 6, 2005
Release Date: September 6, 2005
Availability: Usually ships in 1-2 business days
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Amazon.com
Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer Stills from Crash (click for larger image)
Product Description
CRASH (DVD) (FF)
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| Customer Reviews:
Showing reviews 1-5 of 1022
 Portrayal of the racist mind March 6, 2010
Connor Fitz (Illinois, USA)
1 out of 1 found this review helpful
When I think of the top five most inspiring scenes from any movie, tv show, or play, "Crash" holds scenes one, three, and four. Watching this movie made me think, ponder, and almost cry. When I wondered how Crash could have so many amazing scenes, one after another, I thought, "Most movies only have one storyline that leads up to a climactic moment. This movie has at least six storylines, each weaving in and out of each other, each one affecting the others, and each one with its own personal climactic moment." The minute details that Paul Haggis is able to tie together makes me as an amateur script writer to feel the need to push my creativity and creativeness to new heights.
Critics of this film complain that the storyline is atrocious, and that the dialogue does not make sense, and that the characters are just unrelatable stereotypes of each ethnicity. As for the storyline, I cannot see any flaws in it whatsoever. I may sound ignorant for it, but every step of the story lead me to another twist, another suprise. Whenever I walk out of a movie, it is just my nature to ask myself "What were the loose-ends? What didn't make sense? Did everything come together to form the ending, or were some tangents just left half done, as if the director hoped the audience wouldn't notice?" Crash had no such cliffhangers. Somehow, Haggins brought this huge cast of utterly different characers together in a smooth and fluid way.
I can see some reasons to critics complaining about the dialogue. Crash is not spoken in an everyday way, the dialogue is dramatic, deep, and maybe a little too poetic for the characters that say them. However, this movie isn't supposed to just portray everyday life. It's supposed to portray every little thought that a person has, all of the terrible and hurtful things that we swallow every time we see a person of a different race. So the dialogue may be cheesy, but sometimes are minds are cheesy. Few moviegoers realize that our mind first reacts to situations in the most dramatic, beautiful way possible. Crash is trying to show that first burst of pure thought in our mind through each character.
Finally, people need to stop complaining about how the characters are "too stereotypical". Everyone, realize that these characters are not supposed to be real people. They are all sympols for each race! They are typical black men, or white woman, or asian drivers, or mexican gang bangers, blown completely out of real world proportions. These characters arent supposed to be real people, they are our inner beings, screaming racist and prejudice comments about anyone we see, judging them immediatly. Obviously, people in the real world have a filter, and don't interact with other people like the characters in the movie do. But Crash is trying to show what would happen if we just got rid of that filter, and if everything was just judged by race. That is why this movie is a success.
 Crash (2005) February 19, 2010
N. Anno (Indiana)
1 out of 5 found this review helpful
Written and directed by Paul Haggis, this Best Picture-winner (an undeserving upset over Ang Lee's terrific Brokeback Mountain, a much more noteworthy allegory of human discrimination) drowns in its belligerent vanity and does so pitilessly, nearly pulling the well-intentioned genre -- self-romantic as it is here -- to the cooker with it. In its defense (a half-serious attempt at reconciliation for those who have mounted it as a "classic") it took a couple viewings for me to grow repelled by it -- to be honest, I, like most, was initially swept into acceptance of its audacity by its pinnacle moments -- but, even as soon as the opening frames of my first rehash, the musty stench of its arrogance engulfed me and I was again scooped by the product, this time ashamed at its malice and bewildered by its vindictive nature.
Structurally, Crash is a resounding example of unconformity (though its rearranged chronology is an ever-growing theme and its multi-focal yarn is an age-old cliche of priggish cinema, yet not always implemented by films of such). It is likely to become the template by which many subsequent mystery/thrillers are drawn, though that wouldn't be all that bad: it hooks its audience by immediately proposing a problem to which the answer comes together, piece-by-piece, as the story -- which jumps backwards, then proceeds in real-time, ending with its opening scene -- progresses. As we the audience travel alongside the film's event timeline, our attention is maintained thoroughly by its three climaxes, which are evenly distributed within the film's last half. Yet what is unrealized by a majority of viewers is that while their emotions have been forged and manipulated by these peaks, the movie's story -- and more specifically its script (co-penned by Bobby Moresco) -- runs amok in a cesspool of racially-directed propaganda, which is grossly mistaken for morally-motivated and "necessary" exposure to the cultural/ethnic differences that set aside and bring hardship to the diverse citizens of America (or, in this particular case, Los Angeles).
Crash is a textbook example of exploitation, presented with a slew of disgustingly (and abnormally) xenophobic characters, each of whom spit bigoted slurs as if they were the letters of the alphabet. Simply put, when it tries to address intolerance (which occurs with just about every interaction -- an unfortunate truth), it is smothered rather by its own impudence, which appears more political than it does substantial. In fact, Crash is packed so tight full of asinine stereotypes that, if it exploded into a million pieces, its fragments would have enough false piety in them to supply their own feature-length pictures. The film's self-importance swallows all of its positive qualities (which admittedly are not in short supply and include winning efforts by Don Cheadle, Matt Dillon, Terrence Howard, and Michael Pena) and amasses to an indigestible cinematic experience without the uplift of conciliatory sensitivity or social spotlighting, which it almost embarrassingly thinks it embodies (and forever will, thanks to its three Oscars and national acclaim).
 Overrated by Many February 18, 2010
Calamity Jane
1 out of 2 found this review helpful
People of all races struggle with their own racist thoughts, attitudes and behaviors, while suffering the consequences of someone elses as well as their own. What I liked was how everyone's life is touched in some way, either directly or indirectly, by others. Redemption comes later, but it is tied up in a too-neat little bow. It didn't work for me.
PROS... Very well acted. Interesting enough. Great stars. Under two hours (but felt like three).
CONS... From the gunshop owner to the cop with roving hands, the racism is exaggerated and annoying. In one scene, an Asian wife races into the hospital blubbering her husband's name. A Caucasian nurse doesn't understand and assumes the woman is speaking a foreign language. When the nurse politely asks if she speaks English, the Asian woman curses her in clear English and shoves the racist nurse out of her way.
Then we have the white guy who gives a lift to a stranger - a black punk with an angry attitude. The conversation gets heated and racial. The now-furious black guy makes a threat about having something in his pocket for the good ol' white boy. When he suddenly pulls an object out of his pocket, the white guy shoots him in self-defense. But alas, the black guy didn't really have a gun. The white racist misjudged him.
There are many scenes like the ones above that turn every gesture, every thought, every action into racism.
The musical score grows increasingly irritating, especially towards the end.
The movie is worth watching for the acting alone, but prepare to have some questionable reactions to it.
great purchase February 6, 2010
Norma Leyva (HOUSTON, TEXAS, US)
0 out of 1 found this review helpful
i ordered this product and recieved it a few days later. plays great no scratches or wear and tear on it. totally great purchase
Good Movie Bad Bluray January 7, 2010
Demys Guerrero (Venezuela)
1 out of 2 found this review helpful
This is a warning, dont buy this movie not for the plot itself, just for the bad bad quality of the bluray picture, I cant believe they even bother to clean the grains in the movie, is the worst bluray movie i've ever seen, nevertheless this is one of my favorite movies of all the time
Showing reviews 1-5 of 1022
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