It's smart, therefore, that Haggis has written such novel, precisely observed, often unpleasant characters as the ones Bullock, Dillon, and Cheadle inhabit.

December 09, 2005 read full article

Enjoy the wonderful performances by a cast very committed to the cause.

August 30, 2005 read full article

[Has a] spirited and talented ensemble cast, which Haggis directs with sensitivity.

May 13, 2005 read full article

Too facile.

May 12, 2005 read full article

Haggis's drama is about much more than interlocking front-end collisions. It's about the way we learn, often badly, about one another and how it may take a bad confrontation to peel away the misperceptions.

May 06, 2005 read full article

This is the rare American film really about something, and almost all the performances are riveting. It asks tough questions, and lets its audience struggle with the answers.

May 06, 2005 read full article

The best parts of Crash are as good as they are because they confront us with behaviour we might be capable of under the same circumstances. And we're not bad people. Are we?

May 06, 2005 read full article

And so Crash raises the question: If racism is so pervasive in our society, why do we need such an elaborately contrived plot to drive home the message? In other words: How many racists does it take to screw in the point?

May 06, 2005 read full article

Its emotional lows and wicked below-the-belt punches make it a soul-searching film, a manipulative movie with a lot of stars and a writer-director staying on message throughout: We need to know each other better than this.

May 06, 2005 read full article

Crash isn't set half-a-century ago, in some place of dusty roads and Skoal-spitting sheriffs. It takes place now, in Los Angeles, that most modern of American cities.

May 06, 2005 read full article

An ambitious and often wonderful movie, an expansive look at urban life -- the fractious, noisy whole of it -- filled with witty, biting and insightful writing.

May 06, 2005 read full article

Haggis bends back one full day to unravel the tangled threads leading to the crash, and, in turn, the tangle justifies the existence of his varied and polyglot ensemble.

May 06, 2005 read full article

One of the finest American movies to engage our diverse richness and our casual and not-so-casual ethnic hostility.

May 06, 2005 read full article

Characters come straight from the assembly line of screenwriting archetypes, and too often they act in ways that archetypes, rather than human beings, do.

May 06, 2005 read full article

The characters and individual dramas remain interesting in a personal way, but the overall conception of Crash is hackneyed.

May 06, 2005 read full article

The theme is racism. Let me say that again: The theme is racism. I could say it 500 more times because that's how many times the movie says it, in every single scene.

May 06, 2005 read full article

You will watch much of Crash in dread. That's not so much because you know things are going to get worse -- they do -- before they get better, but because you know Haggis is getting to the nut of things.

May 06, 2005 read full article

Cheadle serves as the movie's Greek chorus, sorting out the fender benders that serve as a metaphor for a city where, Haggis implies, racial profiling rivals moviemaking as a leading activity.

May 06, 2005 read full article

What emerges from the movie's emotional fender-bending and concentrated irony are moments of awe-inspiring reach, the kind of full-throttle acting that demands attention.

May 06, 2005 read full article

Crash wants to be taken seriously as a meditation on our anxiety-plagued times, but the coincidences are too pat, the tugs on the heartstrings too insistent.

May 06, 2005 read full article