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100This is the rare American film really about something, and almost all the performances are riveting.
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100Hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it's easily the strongest American film since Clint Eastwood's "Mystic River," though it is not for the fainthearted.
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100Not just one of the best Hollywood movies about race, but, along with "Collateral," one of the finest portrayals of contemporary Los Angeles life period.
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100The stunning, must-see drama Crash is proof that words have not lost the ability to shock in our anesthetized society.
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100Haggis writes with such directness and such a good ear for everyday speech that the characters seem real and plausible after only a few words. His cast is uniformly strong; the actors sidestep cliches and make their characters particular.
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100It's the most compelling American movie to come around in a long, long time.
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90What makes Crash so gripping--so terrifying in spots, so moving in others, and even a little funny at times--is how nothing happens as we think it will.
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88Flaws are outweighed by Crash's intricate construction and intelligent.
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88The acting is dynamite, notably by Dillon and Newton in their shocking second encounter. Despite its preachy moments, the film is a knockout.
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88Crash fools around with chronology in a Tarantinoesque way that brings its story full circle. You could argue that as events, and people, merge, Haggis' spiky screenplay (cowritten with Bobby Moresco) gets to be, quite simply, too much.
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88Like Robert Altman's "Short Cuts," it is an all-star fresco, but the stars--none of whom carries the movie--get to play the kind of morally ambivalent, sometimes unlikable parts that big-name actors usually avoid.
User score distribution:
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Positive: 110 out of 134
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Mixed: 7 out of 134
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Negative: 17 out of 134
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Yossi10Great Film!!