Monday, June 20, 2005


I just saw Crash,

And it made me cry and it made me laugh.

It made me hate humankind and love humankind.

It depressed me and uplifted me.

It gave me hope and it made me despair.

It showed our potential for good and our propensity

to hide behind our masks of hate and indifference.

Here is part of an Austin Chronicle Review by Steve Davis:

There is a visual image that dominates Crash from its opening credits: blurred spheres of light moving in a seemingly random fashion, sometimes colliding soundlessly, only to continue on their uncertain paths. These abstract illuminations, of course, are headlights floating along the streets of Los Angeles, an urban landscape in which a car accident is the most common form of personal interaction.

Set over a 24-hour period during an unusually cold Christmas season, Crash follows the intertwined lives of a multicultural group of Los Angelenos: two African-American carjackers, a Brentwood housewife, a Latino locksmith, a Persian store owner, and a white policeman, among others.

The brilliantly conceived screenplay by Paul Haggis and Bob Moresco employs a narrative device made familiar to moviegoers in the films of Robert Altman (Nashville) and more recently Paul Thomas Anderson (Magnolia), one in which the paths of seemingly unconnected individuals frequently cross according to the laws of contrivance and coincidence.

In one of the most beautifully directed, scored, and edited sequences in recent movie memory, a "villain" in the film acts selflessly, contrary to the expectations you've imposed on him. At this point, Crash starts to rattle your chain in a way that few films have, bearing lucid witness to the full dimensionality of the human species.

Like most works of art, Crash gets under your skin in a way that is incapable of explanation. It transcends that which can be articulated through mere words.

It's the most compelling American movie to come around in a long, long time.

That's pretty much the way I feel.

If more movies were like Crash,

The earthfamily might not.

Here, in the City of Angels,

every segment of humankind is represented.

All of the tensions and stereotypes are used meaningfully.

But I don't think this is just coincidence working.

If it is,

It is very intelligent coincidence.

The creation creates itself well somehow.

In the Crash,

there is


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Earthfamily Principles



Anonymous Anonymous said...

I loved this movie

10:02 AM  
Anonymous Anonymous said...

The first words in the opening scene are really good. They set the tone perfectly. The script is so tight and precise.

9:36 AM  

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