#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Over a thirty-six hour period in Los Angeles, a handful of disparate people’s lives intertwine as they deal with the tense race relations that belie life in the city. Among the players are: the Caucasian district attorney, who uses race as a political card; his Caucasian wife, who, having recently been carjacked by two black men, believes that her stereotypical views of non-whites is justified and cannot be considered racism; the two black carjackers who use their race both to their advantage and as an excuse; partnered Caucasian police constables, one who is a racist and uses his authority to harass non-whites, and the other who hates his partner because of those racist views, but who may have the same underlying values in his subconscious; a black film director and his black wife, who believes her husband doesn’t support their black background enough, especially in light of an incident with the racist white cop; partnered police detectives and sometimes lovers, one Hispanic female and the other black male, the latter who is dealing with a drugged out mother that feels he isn’t concerned enough about taking care of family; an East Asian man who is run over but who is hiding some valuable cargo in the back of his van; a Persian store owner, who feels he isn’t getting satisfaction from American society when his store is robbed time and time again; and a Hispanic locksmith, who just wants to keep his family, especially his young daughter, safe in a seemingly unsafe world.
Plot: In post-Sept. 11 Los Angeles, tensions erupt when the lives of a Brentwood housewife, her district attorney husband, a Persian shopkeeper, two cops, a pair of carjackers and a Korean couple converge during a 36-hour period.
Smart Tags: #racist #racism #race_relations #stereotype #social_problem #social_injustice #sexual_harassment #racial_tension #class_differences #carjacking #police #redemption #racial_profiling #latino #hate #mexican_housekeeper #death_of_brother #groping #asian_american #black_american #hispanic_american
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The #2 Feel Bad Movie of the 2000s
“Crash” is a superbly made film. The actors are first rate, the camera style is engaging, and production value is tops. And despite all this, I would never recommend it to anyone. Why? I’ll explain in my 4th paragraph but first let’s talk about the story.
This film follows the lives of a dozen or so people over the course of 2 days all living in Los Angeles. The opening scene gives us the aftermath of some ambiguous tragedy (the titular “crash”), and the next scene flashes back to “yesterday” and shows us the events in these people’s seemingly unrelated lives, leading up to that opening moment. If you’ve seen “House of Sand and Fog” (the #1 Feel Bad Movie of the 2000s), you’ll recognize an identical sort of chronology and foreboding tone–so similar that I wonder if the Crash filmmakers were somehow involved in House as well. Both films are very powerful and effective at what they aim to do, and that is, simply put, to disturb us.
Disturb us it does. Within the first 15 minutes, we see things that are so disturbing to the pit of our souls that I almost shut the movie off twice. Racism, hate, justified racism, justified hate, brutal stereotypes. The film masterfully shows us not only the worst quality of humankind but it scrutinizes the reasons why humans are this way. There’s no good guy/bad guy; it’s all bad guys. The first 15 mins is designed to make us hate almost every character, if not every race. By showing the atrocity that each race supposedly inflicts on the other, it paints us a Hatfield-McCoy cycle of hatred that has no known origin. It just exists and burns hotter. Non-whites are subverted by white society, so they exact revenge by committing crimes against white people which in turn causes the white police to hate and abuse non-white people who in turn become criminals against white people. The cycle of hate is not only explained but validated in a well-crafted, brutally told, highly disturbing way.
Which leads me to the 4th paragraph where I explain why I would never recommend this film. It’s because IT JUST MAKES YOU FEEL BAD. For nearly 2 hours you get the same feeling you get when you watch too much cable news. And just as psychologists warn that watching too much news leads to depression, I would say the same can be said of films like this which, like the news, expose and scrutinize the absolute worst of humanity.
But then one might say that films like this are necessary to inspire change. Normally I would agree, and I’m sure that that’s the intent of the filmmakers here. But let me ask you: who needs to change? Answer: racists and bigots. But are racists and bigots really going to be watching “Crash”, stroking their beards and saying “Golly, I need to stop being a racist”? Probably not. And that is the film’s undoing. By taking a heavy, ponderous, complex look at racism and hate, it alienates the fury-driven haters who most need to grasp this message. And instead “Crash” merely preaches to the choir, making the choir feel gawd awful lousy about the state of the world.
The film attempts to lead us to redemption, and there is at least 1 truly powerful scene of triumph that’s worth the price of admission. However, other subplot resolutions seem a bit contrived, if not completely unnecessary, such as one character’s climactic tragedy & epiphany which was so random I literally burst out laughing (the moral of the story being: don’t wear socks indoors!). Ultimately “Crash” tries to tie things up neatly with a positive message, but it’s precisely this neat tie-up, simultaneously with every sub-plot, that feels a bit contrived and ultimately unbelievable. At the risk of cutting out half the award-winning cast, perhaps the film should have focused on just 1 story & resolution, rather than pulling the “Fantasy Island” formula of having half a dozen stories wrap up neatly in the last 10 minutes.
Ultimately, despite its excellent presentation and first class acting, “Crash” couldn’t sell me on its optimistic spin and instead left me feeling pretty horrible about the reality of living in a world where racists don’t often have magical transformations. If you understand what I’m saying, you might want to skip this flick because, regardless of how it ends, the subject will just make you feel bad.
“One of us lost our frame of reference and I’m gonna go look for it.”
Frame of reference is an important part of the experience when it comes to viewing “Crash”. While difficult to separate one’s own “self” from race and ethnic considerations, the power of the film directs us to challenge our preconceptions about others of different backgrounds. Though the movie relies on more than it’s share of coincidence, the events proceed in a way that leave one disoriented when something doesn’t occur the way we might expect. The Persian’s revenge for example, becomes a life redeeming experience when his weapon fires a blank at a young girl (wearing an invisible cloak). Even the man’s explanation is at odds with our mindset; an (guardian) angel saved the Persian from a life of regret, not the life of an innocent.
Name actors never threaten to overcome the story here; presented as an ensemble cast they merge with their characters to make us forget their celebrity status. Particularly convincing in this regard is Sandra Bullock, so expertly cast against type that it’s almost shocking to watch. No single character dominates, as lives merge on the collision course of human frailty.
My primary interest in viewing the film was to see how it stacks up against the other Oscar contenders for 2005. With no knowledge of the movie (I don’t even recall seeing a trailer), I’ll be interested in seeing how it fares against it’s more hyped competition. It could well be the best film of the year in a year marked by radically different themes up for Best Picture.
Original Language en
Runtime 1 hr 52 min (112 min), 1 hr 55 min (115 min) (director’s cut)
Genre Crime, Drama, Thriller
Director Paul Haggis
Writer Paul Haggis, Bobby Moresco
Actors Don Cheadle, Sandra Bullock, Thandiwe Newton
Country United States, Germany, Australia
Awards Won 3 Oscars. 66 wins & 112 nominations total
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Panavision Panaflex Millennium XL, Panavision Super Speed MKII Lenses
Laboratory iO Film, North Hollywood (CA), USA (digital intermediate), Consolidated Film Industries (CFI), Hollywood (CA), USA
Film Length (6 reels)
Negative Format 35 mm (Kodak Vision2 Expression 500T 5229)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3513DI)