DISCLAIMER: The Oscars suck moldy cow-udder as a rule. Ok. Read on.
Crash was the biggest batch of horseshit I’ve seen on screen in a long long time. First of all, does no one one recall the insipid Grand Canyon or the better, but flawed City of Hope both failing at the issues-ensemble-drama, a genre in dreadful need of retirement? Did no one stand up and say ‘bullshit!” more than once while watching this movie? A single cop who picks up hitchikers? and isn’t out crusing? Crash reeks of lazy screenwriting:
—damn, guys, we got a loose thread here and a movie to end.
—But didn’t we already stretch it a bit by having Dillon’s cop save his molestation victim?
—Nah, L.A.’s a small town, dingus. let’s have Ryan Phillipe, you know, just by chance …
–Yeah … good idea … he just, you know, goes out for a drive …
The fine line between clever and stupid was never so clearly crossed. Not even the overrated Magnolia was that stupid.
I’m most sorry that so many sharp minds, some I know personally, were snakeoiled by this perfect example of eighth-grade-level screenwriting filled with overacting. Otherwise I wouldn’t care, because Oscar always celebrates mediocrity with few exceptions (Midnight Cowboy). Did Crash director Paul Haggis thank Chuck Norris? Maybe not — now that he’s a Big Winner, he doesn’t mention creating Walker, Texas Ranger back in the day.
And on a night when Robert Altman gets an honorary Oscar.