Crash lacks both the desperation and comedy that characterize its peers in patchwork, ensemble exercises in the coincidental. Its sledgehammer irony is as lucent as it is contrived—a woman is pinned in her overturned SUV, and is rescued by the same racist, sexist policeman that molested her in a routine (and unwarranted) pull-over the previous evening. Her screaming demand for him to leave her alone is drowned out by the policeman’s instant compassion (and the film’s Eno-esque score). She’s won over, and her life is saved; it’s the sort of transformation persuasive to the sort of films that the Academy bestows with gold. This compassion is, however, stifled by liberal racism. If the dialogue were muted, save for racial slurs, profanities, and gun shots, it would be exactly the same film.
by Rumsey Taylor | Source: Lion’s Gate DVD Screener
13 Mar 2006 11:14 AM | Submit Comment
