"In L.A. nobody touches you." ~Graham

Rating: 10/10 (8 May 2005)

Crash, co-written and directed by Paul Higgis (Million Dollar Baby) is anything but forgettable. Overflowing with speech that reeks of social realism and a plot that shines with creativity, Crash seamlessly carries multiple narratives which follow the clashing lives of various races of people in L.A. The plot is intriguing in its complexity as an endless cycle of racist vengeance unfolds. With no concern for its appropriateness or political correctness, the film fearlessly heats racial issues to a boil. Even with an ensemble cast ,saturated with talent, Crash lacks definitive heroes, victories, triumphs or failures. Co-writers Higgis and Bobby Moresco somehow manage to depict realistic, predictable characters in a completely unpredictable series of events.
The film is set into motion when Peter (Terrence Howard) and the smart-mouth, prone to preaching Anthony (played by Ludicrous) execute a car-jacking on the L.A. District Attorney and his wife (Fraser and Bullock). Having had their sense of security jarred, they decide to have their locks changed by Hispanic locksmith, Daniel (Michael Pena), who also replaces the lock of Arabic shop-owner, Farhad, who buys a gun to help cope with the post 9/11 racism with which he is burdened. The plot's depth unravels itself amongst Asian immigrants, politicians, corrupt police officers, and even a film director (Terrence Howard), as Crash lays out its gritty social commentary on the detachment between the races in Los Angeles. The sharp speech of the characters is brash and intentionally offensive while serving its purpose of thought-provocation. For example, there is Officer Ryan (Matt Dillon), a corrupt white policeman who molests the wife of the black film director, Cameron, who's wife, Christine, castigates him for not being "black enough" to fight for his wife's honor. Cameron, in turn, releases his frustrations on Anthony during an ensuing car-jacking which is stopped by Officer Ryan's young partner on the force, Officer Hanson (Ryan Phillipe). Yet, the tangled prejudices of all the characters emerge in a beautiful conclusion.
"We just kept digging at the truth, and we just didn't care what it sounded like. And, we knew it was ugly" states co-writer Bobby Moresco. "And then, we just didn't allow ourselves to be put off by the ugliness of it. Racism is nothing if not ugly. And no one's going to pay any attention to the storytelling if you try to get around that." The inappropriateness of which Moresco speaks manifests itself via the lucid acting of the film's breakthroughs. Chris "Ludicrous" Bridges defies the stereotypical rapper turned actor whose range is limited to an on screen version of himself. Ludicrous exhibits a spark of true acting talent, spitting out lines which denounce the even the pop-rap that made him famous-- "the music of the oppressor" as his character, Anthony, puts it. Meanwhile, Sandra Bullock, Matt Dillon, and Don Cheadle all display exactly why they're big-time Hollywood talents.
The economic screenplay cleverly weaves in and out of many intense confrontations while also finding time for comical one-liners and softer emotional moments (scored beautifully by Mark Isham). As it does so, the story allows us to receive and understand the prejudice-producing outlooks and anger by which the film and its characters are fuelled. It is in this aspect that Crash is amazing in its ability to transcend the streets of L.A. The fearless racial conflicts portrayed in this film are bound to conjure self-reflection as Crash boldly explores the dangerous places where most films dare not journey. There are many moments when the film could end, but it continues to push further in it's mind-blowing climax, adding spontaneity to its profoundness. Crash surpasses pure entertainment and becomes an important social critique when not a beautiful reflective work of art. You will leave this film ruminating over it's scenes, pondering your place in the feuds depicted on screen, and as Officer Ryan puts it, "you think you know who you are. You have no idea."