CRASH
For all the in depth probing of one of America's biggest weaknesses, the worst thing about Crash is how little there is actually to discuss. It's not a documentary. And while it might claim to look realistic, the characters certainly are not. Instead it comes off like a glossy Pulp Fiction with none of the wit. In fact, it actually has more in common with the recent influx of oscar nominated Clint Eastwood movies. Get a group of a dozen faces and let them stare dourly with big weepy eyes for two hours trying in vain not to crack a smile.
I can't think of a single talking point about the movies theme, hatred and racism in the years after 9/11, because I was too busy being clubbed over the head with it. Great ideas in movies are transferred by character's actions and speech, but the ideas in this movie are too paramount to let the characters act.
Thus, all the characters appear to be caught in limbo waiting for the next scene to be written while the heavy handed script clumps along. When Sandra Bullock ponders why she is always angry and upset with the world, she doesn't seem to be so much questioning herself, as she is questioning the director.
The only character who does show some sort of human emotion is the Hispanic Locksmith, and while it's a welcome respite, the tactic used to show this is cliched and over done. Take a questionable man. Take a young child. If the child loves the man then the man is good.
The only theme that did work was Ludacris's character that seems to be jabbing at his real life persona.
For all the in depth probing of one of America's biggest weaknesses, the worst thing about Crash is how little there is actually to discuss. It's not a documentary. And while it might claim to look realistic, the characters certainly are not. Instead it comes off like a glossy Pulp Fiction with none of the wit. In fact, it actually has more in common with the recent influx of oscar nominated Clint Eastwood movies. Get a group of a dozen faces and let them stare dourly with big weepy eyes for two hours trying in vain not to crack a smile.
I can't think of a single talking point about the movies theme, hatred and racism in the years after 9/11, because I was too busy being clubbed over the head with it. Great ideas in movies are transferred by character's actions and speech, but the ideas in this movie are too paramount to let the characters act.
Thus, all the characters appear to be caught in limbo waiting for the next scene to be written while the heavy handed script clumps along. When Sandra Bullock ponders why she is always angry and upset with the world, she doesn't seem to be so much questioning herself, as she is questioning the director.
The only character who does show some sort of human emotion is the Hispanic Locksmith, and while it's a welcome respite, the tactic used to show this is cliched and over done. Take a questionable man. Take a young child. If the child loves the man then the man is good.
The only theme that did work was Ludacris's character that seems to be jabbing at his real life persona.
posted by Nick at 2:03 PM
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