I don't expect "Crash" to work any miracles, but I believe anyone seeing it is likely to be moved to have a little more sympathy for people not like themselves. Not at all. A cop (Matt Dillon) thinks a light-skinned black woman (Thandie Newton) is white. He drives a Lincoln Continental similar to the one JFK was riding in when he was assassinated. And it is not depraved, although some reviews have seen it that way. But later we see him trying to care for his sick father, and we understand why he explodes at the HMO worker (whose race is only an excuse for his anger). The film is about Kevin Pearce, the fresh-faced, ingenuous and totally rubber-limbed snowboarder destined for a brilliant career when a practice run for the Olympic trials in 2009 landed him just the wrong way. The film may have won an enduring place in the hearts of fans, but even they seem to have a hard time talking about it without acknowledging the brilliance of that "explosion at the screenplay factory" line. Here we present Roger Ebert's most hardcore disses — the most absolutely brutal missives ever issued by the greatest film critic of all time. What's happening here? For Numerous Explicit Sex Scenes, Ebert Symposium 2020: Part 2 Streaming Today, October 22nd, 2020, Everlasting Arms: The Sustained Power of The Night of the Hunter, Welcome to Judgment City: A Look Back at Defending Your Life. It shows the way we all leap to conclusions based on race -- yes, all of us, of all races, and however fair-minded we may try to be -- and we pay a price for that. He lives with Gabriella (Rosanna Arquette), who walks with braces. He drank, he drove, two people died.” Tricky. You are going to do it. It was really just a piece of middlebrow garbage. Almost as if he were attempting to demonstrate to the filmmakers how to be clever, Ebert peppered his review with sarcastic asides ("The plot thickens. He wants people to either love it or hate it. Perez Hilton, celebrity gossipmonger, was among the first to cry foul, but Ebert was having none of it. Did that critic completely miss what happens later in the film, when the "creepy embodiment of emasculated African-American yuppiedom" fights off two car-jackers, disarms an intellectual thug, and then, in a display of reckless bravado, refuses to acquiesce to the commands of three armed LAPD police officers whose guns are pointed at him?

Not surprisingly, some observers felt Ebert’s condemnation was a bit premature. and references to much better films ("It was Forrest Gump, I believe, who said, 'Funny is as funny does.'"). "Crash'' is about characters entranced by a sexual fetish that, in fact, no one has.

I think it achieves greatness, while avoiding the hype of the marketers, endearing it to me all the more. Attending it was one of the most depressing experiences of my life." Fri, Jun 24, 2011, 01:00. More and more, rather than finding the likes of "Sex, Lies, and Videotape," "Do the Right Thing," and "Fargo," we are steered toward movies like "Crash" by inexplicably generous critics. And really, do even the film's admirers believe the scene where Terrance Howard's latte-sipping yuppie tranforms into an angry black Incredible Hulk? This film has nothing new to say about racism and humanity that is not already taught through school, family, friendship, and the media. If there is hope in the story, it comes because as the characters crash into one another, they learn things, mostly about themselves. I wonder if its exhibitors saw it before they decided to play it, and if they felt as unclean afterward as I did.". In a movie supposedly standing against racism, we have, once again in Hollywood, a scene of a black woman at the sexual mercy of a white man, unable to turn him down, indeed even forced to seem grateful, because she “needs” him. Right on!

This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. bags behind them. He also said that he didn't want to make a film that caused people to say "Nice movie." Mr. Haggis, unsure of the right answer (this was a "very big man"), said yes.

"Crash" is a film that depends for much of its effect on the clash of coincidental meetings. If you can imagine the state of mind I'm about to describe, you will understand David Cronenberg's "Crash.'' The actors and the interweaving storyline are on point but the constant barrage of clichéd dialogue accompanied by melodramatic music was almost comical. It is a strange and insightful film about human sexual compulsion ("Belle de Jour," "Peeping Tom," and "Damage," are others). The saintly daughter, the misunderstood repairman, the conflicted policemen, the sheltered upper-class, etc., all have been represented before in cinema. It's not what happens that disturbs us; it's their turn-on that turns us off. Too bad they didn't mail them to the insurance company instead of filming them.". that by somewhat snarkily noting that the African-American Film Critics Association "didn’t get the wake-up call," from Foundas and have endorsed the film. ", The Village marked the point where M. Night Shyamalan started to be seen less as The Next Hitchcock and more The Guy Who Can't Make a Movie Without a Stupid Twist Ending.

Honest Thief Perfectly serviceable and utterly forgettable, Honest Thief nonetheless offers a few pleasing details to keep it from being a total slog. The film is obvious and clumsily manipulative in the manner of a Made-for-TV movie. Then she licks the paint, while her lover licks her. Selections from the RogerEbert.com reader mail inbox regarding “Crash” and Roger Ebert’s defense of his top movie of 2005 against attacks from some critics: While I respect your optimism in your recent column, “In Defense of the Year’s ‘Worst Movie,’” I feel very strongly that “Crash” is not only misguided but dangerous, and so I can only say the same for your column. He told one story of a particular showing of the film: A man probably weighing over 300 pounds and looking rather rough approached him in the wings of a theatre after the film ended. The result is a movie of intense fascination; we understand quickly enough who the characters are and what their lives are like, but we have no idea how they will behave, because so much depends on accident. The bearded prankster passed away when his Porsche hit a tree in Pennsylvania. When the African American police officer hassled Tré on the street. You’re right, it’s absolutely insane to say that the film sympathizes with Bullock’s character. He wasn't done. Here are Roger Ebert's most hardcore disses and most brutal movie reviews of all time. Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013.

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