Before the Oscar hype, I saw Crash during it's theatrical run and wasn't all that impressed. It's a visual mess and is full of hammy stereotypes. Performances are actually good, but a bad script is a bad script. It all seems so thrown together. Worst of all, it's one of the preachiest movies I've ever seen. Instead of allowing the audience to react based on their own individual perceptions, 'Crash' TELLS you how to feel. This is the kind of movie that one expects to break even and eventually be forgotten as there's much better (and more intelligent) material out there that deals with these issues and doesn't insult the intelligence of it's audience in doing so.

I was shocked when it got the nomination and you could have knocked me over with a feather when it won Best Picture.

Watch 'Do The Right Thing' instead, a great movie with wonderful characters that actually lets you draw your own conclusions.

Just when I think that the Right Wing mullahs that run this nation could not possibly be smarter than any other sort of human beings, I am proved wrong. The Los Angeles Guilty White Liberal has got to be the dumbest form of humanity going, even moreso than the inbred hillbilly. You know who I mean: the latte sipping crowd that brought you such critically lauded trash as The Hours, which plumbed every arts cliché imaginable; Monster, which revealed Feminazism's worst side (i.e.- murdering men is ok if the murderer disingenuously claims all men are bad rapists); or Million Dollar Baby, which proved that white trash are probably the only social group still open for out and out mockery. That last piece of tripe, incidentally, was penned by Paul Haggis, the man who wrote and directed this past year's Academy Award winning film of the year, Crash.... Perhaps the most ridiculous, and humorous, moment comes in a cameo where television actor Tony Danza plays a tv star who wants his black costars to sound more `black', so tells the black tv director to reshoot a scene. No one, in this day and age, is so clueless as to risk a lawsuit by speaking that way in public, yet the trio of fawning Left Wing dimwits comment on Danza's `subtle villainy', as if needing to display not a one of them has a clue as to the word's actual definition. Yet, cluelessly written scenes like that abound, and the fact that everyone associated with this film is clueless of them is telegraphed in the film's very first scene, where Cheadle ludicrously intones that people `crash into each other' just to feel something. Wow! Great concept for a title. Here's a better one: The Idiots Guide To Racism. Oh, wait, trademark infringement.
The fact is, although most human beings are idiots, in relation to their emotions, their idiocy is born of complexity, which only makes real world idiocy as racism so vexing and puzzling. But, instead of focusing on the vexing motives of people's bigotry, Haggis shows the shallowness of his understanding of bigotry, not the shallowness of bigotry itself, as well as his utter lack of ambiguity and realism in portraying his characters, their actions, and motivations. This film was two hours of pure movie hell, and one of the worst films ever made; and not in that schlocky Robot Monster nor Plan 9 From Outer Space way that can endear as years pass. It's especially so, considering that a bumper sticker would have sufficed to convey its trite message. I could literally go on for several more pages, detailing every ridiculous and phony thing in this film, and still not fully convey how truly atrocious watching this film was. It should be reviled as being every bit as bigoted and truly `full of hatred' for humanity, as anything Rush Limbaugh, or his ilk, ever uttered. That no one in Hollywood recognized this real `truth' unfortunately explains why this country is where it is right now, and why racism is not the problem, merely a symptom of the real ill.

I would rank this movie as one of the very best that I've seen in years. How many movies present BOTH sides of a story in such a manner that it makes you wonder about your own perceptions? It seems to me that people who scored the movie very low are either extremely stubborn and don't want to "walk a mile in some else's shoes", just don't like to think while watching a movie, or living in a fantasy world where there are no problems. The whole point of the movie is that we stereotype cultures other than our own...so, of course, the characterizations are stereotypical!

This is a terrific movie that addresses the issue of racism in our country. It has a good cast, including Sandra Bullock and Don Cheadle, two of my favorites. It's not what I'd call a blockbuster oscar-quality flick, but it's a socially relevant movie in ways that those kind of movies often aren't.

This should be a must see for any type of anti-racist training. Although some may say that this movie is too stereotypical, its realism will strike home and give us more than a little food for thought that may actually convict us, if we're lucky.

I am sorry but I am not into racism. I could not believe that Sandra Bullock even played in it. This movie was so stupid it is unreal. A cop trying to rape a woman in front of her husband, and then he had to tell her the next day or two when she was in a wreck that she needs to trust him. Ryan thinking a black boy was trying to kill him, shot the boy who was trying to show him something that they both have. He was a cop in the show and what he should have done was tell the boy he was a cop when he picked the boy up hitching a ride. Brandon was just to high class for my taste. He needs to stick w/ comedies. That is his strong suit. There is quite a few other big names but the bottom line rent it first before you buy it. I really wish I would had done that. I don't think it was worth my money.

It's a real case of beginner's luck for first-time director Paul Haggis. Having already scored an Oscar for Best Original Screenplay (Million Dollar Baby), Haggis takes the director's chair for this project and scores a big hit, one which won him Best Picture of 2005. With an all-star cast, a haunting score by Mark Isham and a thought-provoking screenplay, "Crash" is a bold tapestry of humankind at their best and worst and the circumstances that eventually connect them all are a wonder to behold.

All events within the film take place in a mere 24 hours (what a difference a day makes, eh?) with five different stories set in the melting pot of melting pots: Los Angeles, CA. The film opens and ends with a fender bender (hence the title) and the delicate issue of bigotry is dealt with a mighty blow here, a series of life-altering events affecting and eventually connecting all of the following people:

1) a black detective (Cheadle) and his Latino partner (Esposito)
2) two young black felons (Ludacris, Tate)
3) a white district attorney (Fraser) and his wife (Bullock)
4) a Persian shop owner (Toub) and his family
5) a Latino locksmith (Pena)
6) two white LA police officers (Dillon, Philippe)
7) an affluent black television producer (Howard) and his wife (Newton)

How are all these people connected, you ask? Well, if you've ever seen "Traffic", you'll get an idea of how each character manages to intersect the other in an odd "six degrees of separation". There are four different stories happening all at once that will culminate at the end. This is one of the many intriguing ways in which Haggis ties everything together into a coarse and pragmatic patchwork of life in these biased United States.

Crash's biggest accomplishment comes from the manner in which it realigns its characters' perceptions by imposing life-altering situations upon them, incidents which change them for either the better or the worse. While watching the characters' reactions to their environment, the audience is often forced to examine some of their own perceptions and "Crash" reveals time and again the bitter truth behind the majority of America's skewed philosophy.

Don Cheadle is excellent as Graham, a man who struggles constantly with the meager symmetry of justice. Matt Dillon is intriguing as Officer Ryan, a cop whose motives can be hard to determine but whom experience has given an inarguable wisdom. Bullock manages to play a character that's easy to hate, a pampered suburban wife who doesn't realize who her true friends are until she's literally crying out for help, one whom she least expects. Terrence Howard is remarkable as a television producer whose educated wife (Newton) harangues him about life's everyday prejudices after they are pulled over in a routine traffic stop in a wealthy neighborhood by two white cops. He is frustrated and angry with her but when he begins to see the fine lines of racism suddenly and heavily bleed into his life, he at first denies it, then proceeds into self-loathing and hatred. He eventually forgives his wife and comes to terms with various other people for their misgivings. Ryan Philippe impresses as the morally compromised Officer Hanson - there is a shocking moment in which he is truly tested on his obligations as an officer of the law and in that moment becomes the most hypocritical character of, despite having made perfectly clear his moral dilemma in the beginning. Most everyone else walks on and walks off but there isn't a bad performance to be had here (not even from hip-hop star Ludacris) and this ensemble cast makes the most of everything they've got.

Bottom line: There should be no argument as to what film has made the most impact in 2005 - one viewing of "Crash" will have you voting in its favor, hands down.

This is one of the most realistic movies I have seen in a long time. The whole storyline of the characters all collide over twenty-four hours because of racism & stereotypes.

I had to watch this movie for a final in one of my college classes. I don't consider myself a racist person at all, but after watching this movie I think it is hard to believe you have never had thoughts like some of the characters in the movie.

If you haven't seen this movie, see it!!! It will def. give you a new perspective on a lot of things & really open your eyes to what life is really like!!

Powerful drama telling the interlocking stories of several characters in Los Angeles, highlighting issues of prejudice, racism and racial tension. Very well put together with stand-out performances from many actors and actresses including Thandie Newton, Sandra Bullock, Ryan Phillipe, Matt Dillon and the rapper Ludacris. Equally shocking and thought provoking, this was a film I couldn't really fault, which dealt skilfully with very uncomfortable issues. Recommended.

First I'd like to quote another reviewer who said, "...there are so many coincidences of characters running into each other at key moments in the story is just wasn't believable." I'm not sure how it is not believable that the characters in a movie crossed paths. It's not coincidence... it is a story which focuses on a number of characters who cross paths... that's kind of the point. I'm not sure why so many people rated the film so low; even if you don't completely love it, it in no way deserves a 1-star rating. Anyway, the movie displays a lot of stereotypes which in this situation I think is perfect to illustrate the main theme of racism. Racism stems from stereotypes so to say that this movie was wrong for using stereotypes would be to say that the movie was wrong to bring the subject of racism to the public eye. I think this is just one of those movies that has become popular to hate, although there's really no reason to hate it other than the fact that it was so successful.

GOD THIS WAS AN AWFULL MOVIE. I KEPT WATCHING IT HOPING IT GOT BETTER AS IT WON SO MANY ACADEMY AWARDS. IT DID NOT. A STORY ABOUT 5 DIFFERENT CRASH SCENES AND HOW THE PEOPLE REACT ALL IN THE SAME NIGHT. A WASTE OF TIME AND MONEY. JM

I love how the director shows the point of view & racism from all characters and how it affects their lives and the lives of others they come into contact with, every day. The movie really makes you think about possible racism you may have, that you did not even think was there. Subconsciously you may do something to offend someone. It made me re-think the way I present myself every in my job, in Social Work.

Isn't the main idea of a movie to ENTERTAIN, even if the film maker is trying to deliver a message or educate? Crash is not entertaining and I couldn't figure out the message (if there was one). Perhaps the message is that racism still exists in America. So who doesn't know that already? There were too many characters in this movie and no hero or person that we could identify with. What WERE the critics thinking? Makes you wonder sometimes how the critics can sometimes be so far out of touch with what the public likes. Makes me begin to wonder why we even listen to the critics, as they too often get it wrong. This is another one of those soulless movies that critics seem to adore (such as No County for Old Men, another waste of time). Not even the big stars can rescue this stinker. Did anyone read the script before they agreed to be in this? Amazes me that this is one of the most rented movies from Blockbuster. For a movie that tries to connect the lives of characters, Babel does a much better and more plausible job.

Many lessons of life which expertly come together at the end. Don't miss it. It just may change your views a bit.

Two black men hold up a wealthy white class couple and steal their car. Another couple, this time black, gets pulled over by two white policeman. One of the policemen victimizes the woman and later in the story heroicly saves her from a car accident. It's tear dropping. In another life, there is a black detective that gets involved in a racy case about a white male cop who supposedly shot some black men without good reason. That same detective receives a promotion just because he's black, which helps bolster the political reputation of a white man's dream. These episodes obviously point at black men as the spark behind illegal circumstances called crime. To demonstrate blacks in film as the catalyst behind rapid crime rates is like blaming that person right in front of his face; and he's paying for it.

This film is an in-your-face, contrived, waste of celluloid. What became of subtlety? We all know that race is an issue in the United States, but do we really need it spelled out in such a tawdry manner? Are people so morally dubious that nuance escapes them?

The worst part of this film is how it delights in its own over-the-top coincidences. As if you are blown away by the profundity. Such idiocy goes so far that the actors are forced to pervert their skills in a sad attempt to salvage some sinking realism. One scene, where Ryan Phillipe shoots an unarmed black man, is particularly galling. In this lame scene, Phillipe is forced to abandon the development of his character completely and give in to the politically correct message being shoved down the viewer's throat. It is absurd and obscene!

Do I sympathize with some of the important issues discussed in this film? Of course. However, if your idea of portraying important issues involves bludgeoning the audience over the head in such a blatant manner, then the message is bound to fail, or worse, infuriate.

My only thought as I finished viewing this film: What a blown oppurtunity.

There are few movies in life that are "experiences"~ where the audience does not walk out of the theater, but staggers out. "Crash" is one of those rare gems that always haunts the imagination, because it does crash into all of us. I had no desire to watch this film, but relented simply because it won the Oscar. I saw every other movie nominated that year, and none come close to "Crash": it is a story of race, redemption, anger, awareness, and ultimately, the neighborhoods we live in. In the slightest of roles, Tony Danza captures the gritty reality of race expectations. His minor role is a snapshot of the other players in the film (Sandra Bullock as a snotty bitch?? Beautifully played....)

This film not only should bask in the glory of the Oscar, but move onto AFI's top 100 movies of all time. Yeah, it's that good.

This was nominated as the best movie of the year? Jeez. How sad. The issues this movie addresses are important, but the way in which it addresses them is facile and heavyhanded. The main problem is with the script: a talented ensemble of actors do their best with a cliche-ridden, overly-obvious, ham-fisted series of vignettes in which every character behaves in wildly implausible manners -- openly insulting people who are likely to do them bodily harm, preaching at each other about race relations, spouting leaden exposition at every turn... Ostensibly this is a latticework of interconnected stories, ala Robert Altman, but Haggis has little of the naturalness that Altman brought to bear. Every plot twist and "reveal" is exactly what you think it will be: this film has no genuine surprises, just as its characters have no genuine motivations. They are all stick-figure stereotypes, drafted in the service of a Hollywoodized ideal of redemption.

It is a sign of just how bad race issues in America are that so many people thought this was a laudable work of art. If this film had even an ounce of subtlety, it would have have been far more worthy of the adulation it received. I had been looking forward to seeing it -- boy, what a disappointment. (Axton)

The idea that urban violence is simply a way for alienated city folk to reach out and touch each other is just one of the many original thoughts floating through Paul Haggis' Crash (as distinguished from David Cronenberg's Crash), a movie filled with original thoughts (making it doubly regrettable it doesn't have a more original title). Crash is a film about lives in the balance, another LA montage (Short Cuts, Magnolia) but probably the best so far. It weaves together its separate strands and disparate characters into a frighteningly beautiful patchwork, a fully grown up film about conflicted people and people in conflict. The subtext of Crash is intercity racial tension, but this never becomes a theme, rather it seems an inevitable and natural backdrop to the story, or indeed to any story set in a contemporary American city, and most especially in LA. A white racist cop who is also a loving son turns out to be a genuine hero. A good, non-prejudiced rookie cop winds up committing a murder. A young back hood railing against "[...]" stereotyping ends up becoming one himself. An angry young professional woman struggling to separate prejudice from common sense in stereotyping criminal types by their race and appearance winds up all alone with her anger. A pathological, revenge-driven Persian shop owner, sick and tired of being harassed and type-cast as an Arab, begins acting like a terrorist.

Crash offers up a dozen or so such characters wrestling with their identity and placement inside the melting pot of America as it nears boiling point. Paul Haggis' film doesn't reduce questions of racial prejudice to mere ideology or political incorrectness, however, which in the world of movies-by-numbers is something of a miracle. Instead he allows prejudice simply to exist, without judging it, an integral part of the life of his characters and the substance of their world. If everyone is racist, he seems to say, then no one is. Prejudice is inevitable when different races are forced to live together without any real means of interrelation. It's human instinct to distrust what is different from ourselves, after all, and the film isn't afraid to show how sometimes prejudice can even be justified (though it also makes it clear that most of the time it isn't). The biggest problem, Haggis may be suggesting, is when these natural feelings of suspicion or hostility towards others are denied verbal or emotional expression, and so can fester and grow until they come out in acts. Hence, "crash."

In Crash, the cracker cop (Matt Dillon) seems utterly irredeemable in his first scene, yet by the end of the movie he has become one of the most sympathetic characters in a film filled with sympathetic characters (even the deranged Arab, uh, Persian, invokes pity). Of course, sympathetic doesn't necessarily mean likeable, although Hollywood movies never seem to acknowledge that there is a difference, and that audiences don't have to admire or envy a character in order to relate to him. Haggis doesn't let us judge the Dillon character, for example, by his beliefs. He forces us to stay with him and witness his many other sides. The same woman he humiliates, the cracker cop later rescues from a horrible death. Haggis is intent on showing that people are complex beings, and infinitely greater than the sum of their beliefs, prejudices, and actions.

Crash is one of the very few truly adult movies to come out of Hollywood so far this millennium. Its characters are observed not through the narrow crack of Hollywood's conceit, but from the full 360 degrees of a creative imagination. They aren't just given token shadings, these people are nothing but shadings. Haggis never makes the mistake of letting us think we know these people (or that he does), and he never allows us to judge them based on what little we see of them, since every new thing we see contradicts whatever we've seen before. The film seems consciously designed to this end, to remind us of the futility of judging others before all the evidence is in, and of the fact that it never really is. Without a full picture of "the facts," any judgment at all is simply prejudice. Or, as Jimmy Stewart counseled Katherine Hepburn in The Philadelphia Story:

"The time to make up your mind about people is never."

To talk too much about what happens in Crash would be to take away some of the pleasure, although without doing so it's difficult to describe just what the movie is about. Suffice to say then, it is an interweaving set of characters tales, all of which show the results or origins of bigotry or prejudice, in various guises.
It is a fascinating and superbly weaved tale which never relies on thriller tricks to keep you gripped - the drama which will keep you glued here is all driven by the characters. And with such a plethora of characters in the movie, it is incredible that the director, Paul Haggis, managed to leave you at the end with a feeling of understanding of each.
The performances from the superb cast are uniformly excellent, with Matt Dillon and Don Cheadle especially shining, and the locations in L.A. seem to perfectly illustrate the anachronism of our age that has thrown into spotlight the differences between races and cultures, living side by side.
Highly recommended for thought provoking viewing.

I'd like to begin by saying that anyone who gave this movie poor reviews is just plain ignorant. Crash is an extraordinary movie that involves one of the best supporting casts I have ever seen. The movie is so powerful that it will send goosebumps throughout your body - I know it did for me. There are so many different plot lines in the movie, and they are all intertwined so perfectly, I don't understand how it's possible for someone to not like this movie. Crash emphasizes a theme that is so prevalent and so important in today's society that I would recommend it over and over again.

To put it simply, Crash is just BRILLIANT. I would be proud to include Crash in the list of my top ten favorite movies, EVER, it's that good!

To anyone who has not yet seen Crash, you MUST see it. Don't listen to all those pessimists out there who say this movie is not good or that it is unrealistic. First of all, how many movies are actually realistic nowadays, with Hollywood and all? Exactly my point. Secondly, I would argue that the movie IS realistic -- at least its themes are -- and there is no other movie that can begin to touch what Paul Haggis has done here with Crash.

Crash truly is a masterpiece. Thought-provoking, emotional, entertaining, and extraordinarly-well written, I would not hesitate to call Crash the best movie of 2005.

Very good. Thought provoking. Definately, shows that we are in one way or another linked to each other even if we don't see it. A must see. If you enjoy this movie then I recommend watching "Mystic River" and "Gone Baby Gone." :)

I bought this one after seeing it. Its a great movie, and i would recommend it to everyone. Lot of good actors in this one, and its a great story.

Let's be honest, this movie isn't a literal interpretation of life in southern California. I have read too many critiques of this movie that claim it is unrealistic or not believable. To say it simply - this movie isn't intended to be realistic. It's an impressionist painting, working with stark brush strokes to show us extremes of very difficult situations. I believe it does this magnificently well.

This movie hopes to inspire the viewer to ponder the issues presented - it will not draw the conclusions for you.

My most vivid memory from the 2005 Academy Awards has to be the reaction Jack Nicholson gave the entire live crowd upon reading the winner for Best Picture. Everyone there was clearly expecting "Brokeback Mountain" or "Walk The Line" to carry off that award. But, they didn't, and Nicholson's shocked expression spoke sheer volumes to that effect. I don't even think he was expecting to find "Crash" written anywhere inside that envelope.

The fact is, nobody listening was expecting to hear him announce it either.

Why? Because, quite simply, "Crash" did not deserve to win Best Picture.

Don't get me wrong. This film was certainly very well acted and well-intentioned. But, haven't we all seen this exact same story done countless times before? I can think of at least five other race-related films that were far more deserving of the gushing accolades Paul Haggis received for this release. His depiction of modern-day Los Angeles is so unrealistically off the mark and behind the times. This is not to say that racism no longer exists within that city or across this nation, because it obviously does. But, come on, let's get real! Do asian americans or citizens of middle eastern descent honestly speak or represent themselves as stereotypically as they do within the context of this motion picture? Sorry, but none of them in my own personal experience ever have. The minorities depicted here were far better suited to a screenplay set in and around the rabidly less-tolerable 1960s. My spouse of fifteen years, who happens to be black, picked up on this observation right away, as did many of our mutual friends who have lived their entire lives within the greater Los Angeles area.

The first rate acting from the highly decorated and talented cast is all that unfortunately moves me to grant "Crash" two meager stars. If you pay anything less than the same $6.99 we wasted for a copy at Best Buy last night, it would still be far more money than this over-rated and horrendously propagandic "Oscar winner" deserves.

Aside from the great ensemble acting, this is a movie about prejudices. Everyone - and I mean everyone - has prejudices, whether one realizes it or not. This movie, brings some of those prejudices to light, and should, if you are watching the movie correctly, make you uncomfortable with your own prejudices.

The movie affects the audience members on all emotional planes. There is a scene that will strip you bare emotionally, tug at your heart, make you feel the pain of a loss on the deepest imaginable level.

This is a movie that needs to be seen by people, if only to better understand themselves.

See, in the crazed mind of the out-of-control, held-together-with-string, neurotic liberal, the entire world is foaming at the mouth with racist diatribes. People in LA are constantly spouting racist hate words at each other. This is simply not reality. This is the wierd core liberal fantasy - that we all racistly hate eachother allatime and just want to get down to some serious helter-skelter straightaway. This fantasy is so compelling for the liberal that one cannot help but see it as a crude wish fulfillment: this is the way Haggis thinks, so he thinks that everybody thinks the same way. And, to dramatize this, he comes up with completely implausible scenarios, like the one where the "Persian" (NOT ARAB, MIND YOU!) store owner's store is vandalized by hate-mongers who spray-paint "raghead" all over the place and generally wreck the already-unrecognizeable merchandise. (If anyone can tell me what that store was supposed to be selling, please post! The merchandise completely heterogenous, generic and nameless.) Now, things like this simply don't really happen in LA, where I am from. I grew up in LA. I lived there for about twenty five years. The place is simply not a racist powderkeg ready to explode. But, in the mind of Haggis, it is... because most likely Haggis' own mind is just such a powderkeg.
Also, Haggis seems to put racist slurs into action within the movie. There is a scene where a Chinese woman motorist accuses the hispanic (race, race, race!) motorist she rear-ended of "blaking in middoo of stleet!" Keep in mind: this is what the character ACTUALLY SAID. Now, I have several Chinese-born immigrant friends. And so I think I can say with some assurance that Chinese people do not talk in this stereotyped way. For the simple reason that in Chinese there IS AN R SOUND! It is Japanese that lacks the R sound, and instead has a sound similar to the Italian R, using the tip of the tongue. So, Chinese people do not have trouble with the R sound. Only racist stereotypes like Haggis' Chinese character do. You know what the movie reminds me of? A very special episode of Curb Your Enthusiasm, with many different racist characters in the Larry David role. It could be called Curb Your Foaming Racism.
However, the movie does entertain, because one laughs at how bad it really is. My favorite scene was where Matt Dillon's (great actor, wasted here) cop character, who rather unprofessionally felt up a black woman in a previous scene, encounters the same black woman trapped in a car that is just about to burst into flames, as all cars do in Hollywood. He begins to try to free her, but when she sees who he is she freaks, screaming, "Don't touch me!". He then explains that he must touch her in order to save her from a fiery death. She grudgingly assents. Then follows a scene where he is inadvertently gropinng her in the process of freeing her from her seatbelt. Sheer hilarity. It would have been all the better if he was saying things like, "Ma'am, I'm gonna have to stick my thumb up your r*ctum in order to free you." "Uhh, OK" "And Ma'am, I'm gonna have to fondle your m@mmaries. It's all part of the freeing process, you unnerstand." "Uhh, OK I guess..." I loved it.

This movie was veryyyy good. It had some good twists and turns and it had amazing acting and direction. This is a must buy/see!!!

I enjoyed this very much. I can see why it won the Academy Award

Crash has a great cast that give superb performances. It is anchored by a great script that really makes everything come together very neatly. Some people said this movie's overly melodramatic, but for me, it rang true. Just a great movie if you ask me.

Most of what passes for the best of Hollywood these days is wildly overrated, and this Oscar winner is no exception. But taken on its own, it's a well-made movie that moralizes throughout without overdoing it too, too heavily. Good acting and a decent script are aided by an excellent soundtrack. This is the real 16 degrees of separation movie.

I highly enjoyed this movie because of all the different stories with the characters and because of the excellent acting. I thought it gives an accurate description of how personal lives and work lives affect the way peoples' attitudes and feelings change over time. It makes you think how your actions can really impact others. The DVD arrived in a timely manner and in good condition.

This movie is an educational piece on cultural behavior that is very moving and makes you think. You see people who are highly against other cultural groups transform and subsequently carry out acts of kindness to those they previously hated. You see virtuous individuals in situations that cause them to act hatefully towards another race. It demonstrates how even if you 'think' and 'say' you do not discriminate, perhaps you really do. Great movie!

I really liked this film so I gave it to a friend as a birthday gift. It's a very unusual look at race relations that is different from any other film I have seen.

The acting is outstanding. Don Cheadle is incomparable. Sandra Bullock does well in a departure from the sweetheart role. Jennifer Esposito shone. Many more good performances.

This film was memorable and I recommend it.

The main problem I have with this movie is it's lack of subtlety. Most of the time it tries too hard to be profound. It tries to address this serious issue--but it does so by producing contrived scenarios and numerous coincidences. I mean the film is about as subtle as a punch in the face. The writers are practically forcing this crap down our throats. It's like they're saying "LOOK! LOOK AT HOW RACIST EVERYONE IS!" We get it. Infact, I got it about ten minutes into the movie. I don't need to constantly be reminded throughout the entire film. Addressing the issue of race is fine, but addressing it 50 million times in one movie is blatant overkill.

There are, however, some good things about this movie. It delivers an excellent cast. Sandra Bullock, Terrence Howard, Matt Dillon, Thandie Newton, and Don Cheadle all give brilliant performances. Even Ludacris delivers well. The incredible casting, and acting, are what save this movie from complete failure. The actors basically carry the incredibly contrived plot.

We also get a great score for the movie. The film's soundtrack is beautiful. There's also great cinematography. Some of the scenes are beautifully shot. Director, Paul Haggis, does a good job of making this happen.

Despite its palpable plot, there are many other aspects of Crash that make it enjoyable. Recommended for good discussion if anything.

This is a great motion picture. Don't believe all the negative critics who think they know a great picture when they see one. This has a great story, great direction, a gripping story line, and wonderful acting. I was completely moved by this piece of art. More than any movie I've seen in quite a long time. The only negative thing about this picture; not enough Sandra Bullock.