3.9 71
Director: Paul Haggis

Cast: Paul Haggis, Sandra Bullock, Don Cheadle, Matt Dillon


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Issues of race and gender cause a group of strangers in Los Angeles to physically and emotionally collide in this drama from director and screenwriter Paul Haggis. Graham (Don Cheadle) is a police detective whose brother is a street criminal, and it hurts him to know his mother cares more about his ne'er-do-well brother than him. Graham's partner is Ria (Jennifer


Issues of race and gender cause a group of strangers in Los Angeles to physically and emotionally collide in this drama from director and screenwriter Paul Haggis. Graham (Don Cheadle) is a police detective whose brother is a street criminal, and it hurts him to know his mother cares more about his ne'er-do-well brother than him. Graham's partner is Ria (Jennifer Esposito), who is also his girlfriend, though she has begun to bristle at his emotional distance, as well as his occasional insensitivity over the fact he's African-American and she's Hispanic. Rick (Brendan Fraser) is an L.A. district attorney whose wife, Jean (Sandra Bullock), makes little secret of her fear and hatred of people unlike herself. Jean's worst imaginings about people of color are confirmed when her SUV is carjacked by two African-American men -- Anthony (Chris Bridges, aka Ludacris), who dislikes white people as much as Jean hates blacks, and Peter (Larenz Tate), who is more open minded. Cameron (Terrence Howard) is a well-to-do African-American television producer with a beautiful wife, Christine (Thandie Newton). While coming home from a party, Cameron and Christine are pulled over by Officer Ryan (Matt Dillon), who subjects them to a humiliating interrogation (and her to an inappropriate search) while his new partner, Officer Hansen (Ryan Phillippe), looks on. Daniel (Michael Pena) is a hard-working locksmith and dedicated father who discovers that his looks don't lead many of his customers to trust him. And Farhad (Shaun Toub) is a Middle Eastern shopkeeper who is so constantly threatened in the wake of the 9/11 attacks that he decided he needs a gun to defend his family. Crash was the first directorial project for award-winning television and film writer Haggis.

Editorial Reviews

Barnes & Noble - Ed Hulse
Quite accurately described by studio publicists as "a provocative and unflinching look" at contemporary life in a post-9/11 Los Angeles suffused with racial tensions, Crash boasts an unusually complex script and wonderful performances. It also moralizes and traffics in outrageous coincidences. Nonetheless, this drama from Million Dollar Baby screenwriter Paul Haggis sports some truly unforgettable sequences and an ensemble cast that, individually and collectively, supplies perhaps the best acting in any movie released this year. No less than a half dozen plot threads are used to weave a multilayered story in which most of the characters interact with one another, in some cases without realizing it. Brendan Fraser and Sandra Bullock play a district attorney and his wife who find themselves carjacked on a busy L.A. street. Matt Dillon plays a racist cop who deliberately harasses an African-American TV director Terrence Howard and his beautiful wife (Thandie Newton) while his embarrassed partner (Ryan Phillippe) is obliged to look on. Don Cheadle and Jennifer Esposito play police detectives investigating what appears to be a racially motivated shooting with political implications for the police department. Other subplots involve a hardworking Latino locksmith (Michael Pena), a Persian shopkeeper (Shaun Toub) whose store is robbed, and a pair of young black men (Larenz Tate and the rapper Chris "Ludacris" Bridges) who spend the day trying to boost cars. There's no denying that the movie deals with important issues, and despite its earnest self-righteousness Crash contributes forcefully and memorably to a debate our society needs to have.
All Movie Guide
The Oscar-nominated screenwriter of Million Dollar Baby takes the helm of his own project in Crash, an ensemble study of race relations in Los Angeles, which uses the city's daily preponderance of motor-vehicle collisions as a central metaphor. The film recalls the work of Robert Altman (Short Cuts) and Lawrence Kasdan (Grand Canyon) in its attempt to interweave different segments of the city's socioeconomic and ethnic landscape, but uses a blunter hammer stroke to drive home its points. The film's many supporters led to surprising Oscars for best picture, screenplay and editing, as well as a 55-million-dollar box-office take. While some viewers were undoubtedly drawn to the unfiltered language and uncompromising intensity with which racism is depicted, others found that the film veers into contrived territory. As the characters are more often symbolic types than fleshed-out individuals, they butt up against each other according to what will create maximum incendiary dialogue and the potential for explosive conflict. Whether it's Dillon spewing anti-affirmative-action rage, Sandra Bullock spraying racial epithets in as many directions as a lawn sprinkler, or an Iranian business owner and a Latino locksmith using their mutual preconceived notions to block off communication, most of the scenes play out at the highest possible emotional pitch, with mixed results. While a number of scenes work well individually -- most notably Dillon's creepy frisking of Thandie Newton -- their coincidental interconnectedness undermines them enough to seem gimmicky. Even if some viewers found the material preachy, there's no denying that Crash reached a wide audience, its fans identifying a forthright frankness on race relations that they hadn't seen since Do the Right Thing.
Entertainment Weekly - Lisa Schwarzbaum
The stunning, must-see drama Crash is proof that words have not lost the ability to shock in our anesthetized society.
Chicago Sun-Times - Roger Ebert

Not many films have the possibility of making their audiences better people. 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.
The New Yorker - David Denby
Hyper-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.

Product Details

Release Date:
Original Release:
Lions Gate
Region Code:
[Wide Screen]
Sales rank:

Special Features

1080p high definition; 16x9 widescreen version; 6.1 DTS-ES discrete audio; 5.1 Dlby Digital Surround EX audio; English and Spanish subtitles; Interactive menus powered my Metamenu Technology; Change audio mix, subtitle language of jump to any scene ant amy time - even during playback

Related Subjects

Cast & Crew

Performance Credits
Sandra Bullock Jean
Don Cheadle Graham Waters
Matt Dillon Jack Ryan
Jennifer Esposito Ria
Shaun Toub Farhad
Brendan Fraser Rick
Terrence Howard Cameron Thayer
Chris "Ludacris" Bridges Anthony
William Fichtner Flanagan
Thandie Newton Christine Thayer
Ryan Phillippe Officer Tom Hanson
Larenz Tate Peter
Michael Peña Daniel
Nona Gaye Karen
Loretta Devine Shaniqua
Beverly Todd Graham's Mother
Keith David Lt. Dixon
Sean Cory Motorcycle Cop
Tony Danza Fred
Billy Gallo Officer Hill
Karina Arroyave Elizabeth
Art Chudabala Ken Ho
James Haggis Lara's Friend
Ken Garito Bruce
Dato Bakhtadze Lucien
Marina Sirtis Shereen
Daniel Kim Park
Bahar Soomekh Dorri

Technical Credits
Paul Haggis Director,Original Story,Producer,Screenwriter
Linda M. Bass Costumes/Costume Designer
Michael Becker Songwriter
Laurence Bennett Production Designer
Scott Cameron Asst. Director
Don Cheadle Producer
Betsy Danbury Co-producer
Brandee Dell'Aringa Art Director
Marina Grasic Executive Producer
Sarah Halley-Finn Casting,Co-producer
Mark R. Harris Producer
Randi Hiller Casting,Co-producer
Mark Isham Score Composer
Jan Körbelin Executive Producer
Dana Maksimovich Associate Producer
Robert Moresco Screenwriter
Bobby Moresco Producer,Screenwriter
J. Michael Muro Cinematographer
Tom Nunan Executive Producer
Andy Reimer Executive Producer
Cathy Schulman Producer
Richard van Dyke Sound/Sound Designer
Hughes Winborne Editor
Bob Yari Producer
Kathleen "Bird" York Songwriter


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Crash 3.9 out of 5 based on 0 ratings. 71 reviews.
Guest More than 1 year ago
After viewing this joke of a film just once, it's insanely easy to see why it won Best Picture. It makes white people look like the enemy, and Hollywood just loves that. They love hating Whitey so much that this awful movie beat out the story of a 25-year gay romance for the Oscar. If this movie succeeds in anything, it proves how out of touch the film culture is with the rest of America. Absolute garbage.
Anonymous More than 1 year ago
Guest More than 1 year ago
This is one greatest movies i have seen this year. Maybe one of the greatest movies i have ever seen. simple as that, go see it....
Guest More than 1 year ago
This movie explores the issues that we as a society face everyday. Race issues are a big part of our culture and how people deal with those issues depends on the person. This film would be excellent for an ethics class in college. As a college student I feel this movie would benefit students taking such a class. Wonderful and moving. Five stars!!
Guest More than 1 year ago
just wow. one of those movies that just makes you think. its in my top 5 life changing or otherwise list along with garden state and the italian job. the acting in crash is great, all of the characters played perfectly. 5 stars.
Guest More than 1 year ago
This is one of the best movies I've seen. I agree with Roger Ebert in that this movie definitely has the possibility of making the audiences better people.
Guest More than 1 year ago
this movie was one of the greatest movies that I have seen to date. This movie started off on the right note and the ending was so shocking!! I t can be a real tear joker.
Guest More than 1 year ago
This is without one of the best dramas of all time, this movie moved me. Ive never been so attached or drawn into a movie as I was with this one. There are so many good things I could say about this movie, that I am almost speachless....I strongly recomend this movie to everyone, even if you dont end up liking it, its worth seeing.
Guest More than 1 year ago
let the cliches and stereo types fly, but this movie is more than just that. It's about the misjudgment of character, misunderstanding the other side, ignorance and stupidity, it's even about who your real friends are. "Crash" tells the truth about people who harbor prejudices and ignorant misconceptions about other cultures, and that when it comes to racisim and stereo types everyone's to blame, noone comes out unharmed. The writer/director Paul Haggis puts these prejudices out in the open for all to see and hear, waving a big red flag saying, "people, this stuff exits you can't ignore it". What audiences will find interesting about "Crash" is how the entire story comes together.
Guest More than 1 year ago
I was really surprised after I saw this movie in theaters. I really had no clue what this movie was about when I went to see it, but I was so glad I went and saw it. The cast is filled with great actors and the storyline is very entertaining. One of my favorite movies of all time!
Guest More than 1 year ago
This movie has it all-- drama, conflict, action, you name it. Wonderful script and a powerful movie. Highly recommended.
Guest More than 1 year ago
I watched this DVD on Oprah's recommendation. I half-heartedly rented it because the only thing I knew about it was that she recommended it. PHENOMENAL movie. It is a thinking person's movie and if you don't come away thinking about this movie for DAYS OR WEEKS or LONGER, then you must have fallen asleep. Rent it, buy it, borrow it, whatever you have to do. It was the best drama this year so far!!
Guest More than 1 year ago
If only every movie could be like "Crash." Truly a modern inspiration that should start many a discussion and give insight into everyone's motives and prove people are not always who they seem.
Guest More than 1 year ago
omg... This is one of the best movies I have EVER seen! It is so inspiring and intimate. It definitely gives you a real look at racism and social clashes. The first thing I thought at the end of this movie was:"Wow...Life is such a vicious cycle underneath. " It's kind of scary(life,not the movie). I cried a lot, it is that moving. It takes quite a bit to make me cry. A must see for everyone!
Guest More than 1 year ago
"Crash" could have been an excellent and powerful film unfortunately, it ends up stepping on its own feet. Basically, everything that you've heard about it being a glimpse into a racially tense post-9/11 Los Angelos is true, albeit a bit ridiculous as the film spirals towards its conclusion. Paul Haggis, in his introduction to the film on the DVD, claims that "Crash" is a passion piece, and he is correct. "Crash" is all passion, and no logic. There are so many ironies in the movie (a few realistic, but most bordering on the melodramatic) that even Sophocles, the Greek playwright who gave us Oedipus and Antigone, could not have done it better (or in this case, worse). "Crash" assumes that all people are neither totally good nor totally bad, but are actually somewhere in the middle. The film tries to push this theme throughout its entirety, but ends up preaching by the finale. Also, for a film so passionate about racism and stereotypes, there is only one or two instances in which an ethnic minority actually solves a situation other than that, it is the white caucasians who end up saving the day. In the end, Crash was a good idea that stumbled over a poor plot and mediocre directing. I would recommend seeing the film to understand what the fuss is about, but please don't get caught up in it.
Guest More than 1 year ago
I can only think of a few movies such as Schindler's list that have affected me so profoundly that I was still thinking about them days later. Crash is definitely one of those movies!
Guest More than 1 year ago
I have lost all respect for the Oscars now that "Crash" has won for best picture. "Brokeback Mountain" was a BILLION times better than "Crash". Yes, the subject matter of "Crash"-racism- is important, however, as a film it is terrible. The subject matter of "Brokeback Mountain"- homosexuality- is also very important, but was dealt with using great directing, writing, and acting. The movie "Crash" is annoying, boring, and miserable. The many intertwining stories leave for characters with little development, and little required acting: the ONLY emotion characters may express is anger and even then, only a few actors express it. After hearing so many good reviews about it, I thought I should see it. I kept watching hoping that it would get better. It never did. I kept looking at the timer on the DVD player to see how much longer I had to watch before "Crash" was finally over. This movie is just as lame, uninteresting and worthless as hundreds of other movies. Roger Ebert thought Matt Dillon was Oscar worthy for his performance as a racist cop because his character is "redeemed" during the movie when we find out he is taking care of his sick father. How does the cop's caring for his father redeem his character for his extreme racism or his molesting of a woman? "Brokeback Mountain" is a beautiful and intense movie that requires a great deal of emotion from all of its actors, and the actors do a marvelous job expressing their characters and connecting with the audience. I felt no connection with the people from "Crash". When I heard that "Crash" was "gaining steam" in the Oscar race, I thought it had to be a joke, and hearing that it was the main competition for "Brokeback" made me wonder how terrible were the three other nominated films? I have no idea what happened at the Oscars- either the Academy gave into the peer pressure of Roger Ebert, or it may have believed what should have been ridiculous jokes of "Crash" "gaining steam" in the Oscar race, or the Academy is made up of people who worked on and starred in "Crash". "Brokeback Mountain" was the Best Picture of 2005 and no one can take that away. Thankfully "Brokeback Mountain" was acknowledged as Best Picture of the Year by every other major award ceremony and a dozen smaller ones.
Guest More than 1 year ago
While Haggis' film is superb, I couldn't help but be reminded of Lawrence Kasden's wonderful and similar, though often overlooked, "Grand Canyon." If you loved "Crash," you should also appreciate the Kasden jewel, "Grand Canyon," with its equally talented cast and interwoven plot lines.
Guest More than 1 year ago
A large and star-studded cast made Crash not just a must-see, but the best picture of the year. Whatever you do, don't miss it. Oprah was right when she said it should be in every single DVD collection.
Guest More than 1 year ago
Yes, in a few places in the world these kind of stories exist, but not everywhere. The film places labels on everyone, ignorant labels.
Guest More than 1 year ago
Contrary to the very enthusiastic comments on this site, I found the Academy's choice for Best Picture of 2005 to be an embarrassing one. In the year of "Brokeback Mountain", a timeless classic if there ever was one, and three other far superior Picture nominees, "Crash" is an incredibly weak selection for top honors. A "Message" movie with all the subtlety of a sledgehammer, "Crash" does boast fine acting, nimble editing. gritty cinematography and an effective, moody music score. All of that is wasted because Paul Haggis' original screenplay is basically a set- up. A modern day parable about race relations in and around L.A. fails to be convincing drama due to Haggis having his characters make rants and speeches in a storyline full of unbelievable coincidences. I will concede that there is a certain fascination in watching the dramatic proceedings due to the utter phoniness of the plot. As the film winds up its several story strands it becomes more laughable than moving. "Crash" belongs in Oscar's Hall Of Shame.
Guest More than 1 year ago
A waste of good acting. The storyline is like a cheesy soap-opera -- L. A. has millions of Angelinos, yet this group of characters keeps running into one another. This movie tries too hard to get a simple message across: Humans may all be biggots "in-hiding", but in the end, we're all we've got and we depend on each other to get through life. But it's just a "preachy", poor quality film. It was like one of those over-the-top melodramatic LIFETIME movies, but with lots of cursing and a nude scene. Definitely not Oscar worthy.
Guest More than 1 year ago
The first few lines of the movie describe it best - "We miss that touch so much that we crash into each other, just so we can feel something." There's a lot going on nowadays where you know you should be feeling something, but can't- you're desensitized. Crash will remind you what it is to be in the frustrating, turbulent state our society is in. It will make you angry, it will make you laugh, it will make you cry. But in the end you will come away simply knowing more, and that's saying a lot.
Guest More than 1 year ago
Definitely not better than The Constant Gardner. Good rental, not a good Oscar pick. Too many stories going on to fully develop any of them to the point where you really cared. The acting was just ok...I was expecting more.
Guest More than 1 year ago
I guess most people who've seen this movie and rated it so high as 5 stars must not get out much or read the newspapers or walk the streets or they don't watch many quality movies. Granted we are bombarded with violence and hate and ethnic slurs and the war on terror and the likes on a regular basis, we all know about drugs, drugs and more drugs, we all know about hollywood and those glamourous people and all their needs but man does this movie really think that they are showing us something new we haven't been drilled and beat over the head with on TV and the print media daily? Are the people responsible for making this rehash that stupid that they think we are viewing the second coming right on the screen before us?? Do they thing we need some magic dust or invisible healing hands to help us find our ways through this bad land we all share called America? Thanks but no thanks, maybe LA thinks this is how we all live and relate to one another and have a happy ending here and there but please, there were so many better movies out there much more worthy of praise. This one didn't even get nominated for a Golden Globe Best Picture award, hardly made a dent in any of the best of the year critics awards during the past several months, came and quickly went at the movie theaters, why wasn't it critically praised during its first time out? If it was that good in this day and age of media overkill how did we all manage to miss this revelation on human interactions?? Crash came out of nowhere and stole the show and will always be remembered for doing just that. The Best Movie of the year will do just fine, it didn't need the academy to vote its merits, the people of this country and the critics all chose the most daring outstanding film already, it will live a long life along side the classics of our time, it didn't need any help from all those old time academy voters sitting in seclusion waiting to pass on, it was decided months earlier, which movie people talked about long after they left the theater. It wasn't Crash.