Other Sellers on Amazon
100% positive over last 12 months
Image Unavailable
Color:
-
-
-
- Sorry, this item is not available in
- Image not available
- To view this video download Flash Player
Crash [Blu-ray]
Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
- Select the return method
- Ship it!
Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
- Select the return method
- Ship it!
Return this item for free
Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
Learn more about free returns.- Go to your orders and start the return
- Select the return method
- Ship it!
Additional Multi-Format options | Edition | Discs | Price | New from | Used from |
Watch Instantly with | Rent | Buy |
Purchase options and add-ons
Genre | Drama |
Format | Color, Blu-ray, Widescreen, Subtitled, NTSC, Multiple Formats, Dolby |
Contributor | Dato Bakhtadze, Tony Danza, Thandie Newton, Matt Dillon, Don Cheadle, Paul Haggis, Sean Cory, Sandra Bullock, Loretta Devine, Art Chudabala, Jennifer Esposito, Keith David, Karina Arroyave, Robert Moresco See more |
Language | English |
Runtime | 1 hour and 52 minutes |
Frequently bought together
Similar items that may ship from close to you
- Traffic (The Criterion Collection) [Blu-ray]Benicio Del ToroBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- American BeautyAnnette BeningBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- Spotlight [Blu-ray]Mark RuffaloBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- A Beautiful Mind [Blu-ray]Russell CroweBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- No Country For Old Men (Blu-ray + Digital)Tommy Lee JonesBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
- Chicago (Blu-ray + Digital)Catherine Zeta-JonesBlu-rayFREE Shipping on orders over $35 shipped by AmazonGet it as soon as Tuesday, Apr 2
Product Description
Product Description
Matt Dillon, Sandra Bullock, Don Cheadle. Compelling plotlines dash in and out of this riveting drama leaving no stone unturned and nothing sacred in a 36-hour stretch in racially tense Los Angeles. Explosive and raw subjects with gutsy performances make this film about daily urban life a four star collision! 2004/color/115 min/R.
Amazon.com
Movie studios, by and large, avoid controversial subjects like race the way you might avoid a hive of angry bees. So it's remarkable that Crash even got made; that it's a rich, intelligent, and moving exploration of the interlocking lives of a dozen Los Angeles residents--black, white, latino, Asian, and Persian--is downright amazing. A politically nervous district attorney (Brendan Fraser) and his high-strung wife (Sandra Bullock, biting into a welcome change of pace from Miss Congeniality) get car-jacked by an oddly sociological pair of young black men (Larenz Tate and Chris "Ludacris" Bridges); a rich black T.V. director (Terrence Howard) and his wife (Thandie Newton) get pulled over by a white racist cop (Matt Dillon) and his reluctant partner (Ryan Phillipe); a detective (Don Cheadle) and his Latina partner and lover (Jennifer Esposito) investigate a white cop who shot a black cop--these are only three of the interlocking stories that reach up and down class lines. Writer/director Paul Haggis (who wrote the screenplay for Million Dollar Baby) spins every character in unpredictable directions, refusing to let anyone sink into a stereotype. The cast--ranging from the famous names above to lesser-known but just as capable actors like Michael Pena (Buffalo Soldiers) and Loretta Devine (Woman Thou Art Loosed)--meets the strong script head-on, delivering galvanizing performances in short vignettes, brief glimpses that build with gut-wrenching force. This sort of multi-character mosaic is hard to pull off; Crash rivals such classics as Nashville and Short Cuts. A knockout. --Bret Fetzer
Product details
- Aspect Ratio : 2.35:1
- Is Discontinued By Manufacturer : No
- MPAA rating : R (Restricted)
- Product Dimensions : 0.5 x 5.3 x 6.8 inches; 0.01 ounces
- Item model number : 19523
- Director : Paul Haggis
- Media Format : Color, Blu-ray, Widescreen, Subtitled, NTSC, Multiple Formats, Dolby
- Run time : 1 hour and 52 minutes
- Release date : June 27, 2006
- Actors : Don Cheadle, Sandra Bullock, Thandie Newton, Karina Arroyave, Dato Bakhtadze
- Subtitles: : English, Spanish
- Studio : Lionsgate
- ASIN : B000EWBKLW
- Writers : Paul Haggis, Robert Moresco
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #14,506 in Movies & TV (See Top 100 in Movies & TV)
- #1,536 in Drama Blu-ray Discs
- Customer Reviews:
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on AmazonReviews with images
-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
The common assumption about anger says that conflict among people, say racial conflict, triggers fear then anger. But here are some new premises to consider. Bear with me--there is a cinematic point here. There’s a school of thought that says “race” is a fabrication, a social construct, a piece of fiction created by the mind (to, say, rationalize subjugation). If one considers that there are virtually no biological differences among humans, that there’s only one human species, this thinking is correct. It’s also widely accepted in psychology that there is in life for most people a certain inherent anxiety, a persistent low intensity fear that compels us to look around for threats--an inheritance from thousands of years of evolution (an adaptive function), even if different people today experience that anxiety in different ways. It follows that perceived threats in the environment (say, for instance, different skin color) can easily trigger that anxiety, then the closely related emotion anger (“… anger is the subjective experience that accompanies aggressive impulses.” [Averill]), then aggression that may follow. In other words, people have a built-in anxiety that, in a sense, looks around for threats real or perceived. Racial difference turns out to be one of those threats, even if a social construct. The threat intensifies anger (in preparation for aggression). The anger produces conflict, even if the threat was a perceived one. So that racial conflict doesn’t precipitate anxiety and anger, even if it feels that way. But rather anxiety and anger predicate the construction of race and then precipitate racial conflict. It’s a massive corruption of the adaptive functions of these emotions, originally intended to keep us safe but now causing conflict. “Different” may seem to be the problem, but it’s really not. The problem isn’t on the outside, it’s on the inside--anxiety and anger. That’s the Crash. From anger that becomes crippling, the folks in this film are crashing into their own selves, and they’re forced to question their assumption about the origin of their anger … just as the film asks you to question yours. How Socratic!
Crash involves racism, but it isn’t about racism. It’s about anger and change: recognizing the control anger has in our lives (like an addiction) and making a decision to change that, to give it up, to surrender it. All of the characters are dealing with an unbridled anger which they need to let go of before it destroys them. We may have to accept the inherent anxiety. But when the old way of being doesn’t work anymore, when there’s just too much pain, the anger can be changed, even if an emotional crisis is usually needed to do that. The inability for this kind of change is the second assumption the film asks you to question. And the film-makers are making their case that if we question the origin of our anger, we can let go of some of it, allowing people to change both themselves and the way they get along with others.
There’s a spectacular heartbreak to the way these crises are portrayed, especially by Terrence Howard, who is unforgettable. And there’s a real artistry to this film that makes it a both exhilarating and thoughtful rendition of the transformative power of pain. Full of anguish, defiance, courage, humor, and beauty, Crash is a gorgeous, even if at times difficult, parable about change and hope. Twelve years after its release, it's clear its Best Picture Oscar was well deserved. The film may be a bit too much for some. But for others, it’s what cinema is all about! Roger Ebert wrote of this picture, “Not many films have the possibility of making their audiences better people.” But when art reaches deep into the viewer and touches both feeling and thought, that art can change people in ways that may last a lifetime. What nobler purpose is there of art. Crash is that kind of art. It acknowledges the mystery of life and, in portraying that mystery so elegantly, helps the viewer make peace with it. And wouldn’t we all eventually like to be able to say, in Pat Conroy’s beautiful words (from The Prince of Tides), “It is the mystery of life that sustains me now.”
This film accurately depicts the randomness and chaos in life, along with fate and racism, maybe even destiny… as we make our feeble attempts to control it all. You decide. However, the film fails to address the root cause of racism, especially how racism is learned, many times inculcated since birth by many parents with little to no skills thereby perpetuating further hate and violence on this planet, along with all of its associated sadness and heartbreak. With scenes of love and transformation, it keeps the viewer wanting more. Now this…
Almost 4-decades ago, I met a man, randomly… so I thought. He taught me how to fly using his personal 1943, Beechcraft Staggerwing D-17s (a large, red biplane) and a Luscombe 8c, along with a couple of other aircraft. He was a retired American Airlines captain and his name was Jess E. Shryack (Godspeed, Captain Shryack).
I went on to become a professional pilot (among many other professions), which a kid from my background and economic status could never have dreamed possible. I recently attributed the encounter with Captain Jess “Cappy” Shryack to fate, not randomness… maybe even destiny? In fact, although not featured in this film, Captain Shryack also taught John Travolta to fly the Boeing-707… and Jess never even told me. I only discovered that fact after Cappy’s death in 2008.
Here’s the mind-blowing part of it all - At least it was for me. As I viewed the credits at the end of this film, I realized just how much fate, randomness, chaos, destiny, violence, love, true friends and good parenting were a significant determining factor in my life. How?
It turns out that the Boom Operator for this film (see Crew Credits at the end) is the youngest son of Captain Jess Shyrack (Joel Shryack)… the son of that random man that taught me to fly so many decades ago. This “randomness” has been verified and documented – I had forgotten the single time I so briefly met Joel almost 34 years ago in Justin, Texas at the Flying “S” Farm where I initially learned to fly airplanes.
There are no such things as coincidences. Know that! Pay attention to the random events, chaos and all the rest. It might just change your destiny, or fate, too. Stay close to God! – James M. Paton, Waco, Texas – a retired, albeit broken, professional pilot, etc… and like in the film… with a loser for a “brother."
Top reviews from other countries
この映画でも、いろんな国の人が、いろんな言葉を話し、文化の違い、
考え方の違いによって、差別や偏見が、どれだけ根ずいているのだろう・・・
と、とても考えさせられます★ アカデミー作品賞と、脚本賞を受賞しましたが、
脚本も書いているポール・ハギス監督・・・多くの登場人物と、多くのエピソード
で、ただ単に、差別問題を取り上げているだけでなく、その登場人物の
一人一人の苦悩、やるせない思いが見事に表現されていて・・・また、
何かしらの関連性を持たせて、そして、最後には、新たな思いを持って
前へ進んでいく・・・きめ細かい人間像と演出力・・・
素晴らしく完成度の高い作品に、とても感動しました!
Best performance? Take your pick, I won't be arguing, but for me Matt Dillon deserves the nod if only for the demonstrating just how far he has travelled since 90210 and THERE'S SOMETHING ABOUT...
The film is far from perfect, and not the accurate portrayal it was held to be. The issues are as raw as you'll find them, but the characters remain superficial throughout. We get to know OF them without getting to KNOW them. I'll suggest Haggis took an enormous risk - and won - hanging his hat on story in favour of depth. None become worthy people. All are deeply flawed and possibly only one deserves redemption by the time the titles roll.
The film uses a well tried if complicated formula. Take a multiple of disparate characters and observe as they proceed in parallel toward the concluding common plot point where unrelated lives finally knit together. Use Pulp Fiction as your template, but there the similarity ends. This movie is best enjoyed completely unspoiled, so for synopsis you'll have to look elsewhere. Taking a break midway doesn't mean confusion, but missing even a single minute risks denting your appreciation of the complete work.
The direction is fluid and cohesive, though there is visibly still too much gloss for this set of LA tales. Haggis styles-it-out like Michael Mann...when he feels up to it. Heat [DVD] [1995 ]
While replete with epithets and stereotypes intended to flesh out the race based social commentary, I recommend Spike Lees "Joints" for cinematic accuracy on the American (because it is unique) race issue. Lee tells it like it is because he really was "there". Bold enough to tell white folks the truth. Honest enough to tell black folks the TRUTH. Highly controversial, often offensive, leaving no-one unscathed. Jungle Fever [DVD ]
CRASH is class conscious, at times aloof and intellectual where it ought to be gritty ghetto. A "black" film for republicans? Unkind but valid. Haggis chooses race to steer the story carefully to his conclusion that our failure to understand each other is neither black nor white but human. We are equally capable of being exploited and of exploiting others. It's just a question applying sufficient motivation.
CRASH saves its gilt-edged moment to the three-quarter mark, whereupon we are treated to a "SIXTH SENSE" revelation so solid that Haggis could have followed with dancing girls wearing Hitler fatigues and still not lost the Oscar. Speaking of which, it is obvious why folk regard the Academy Award as a steal. Brokeback Mountain [DVD] [2005 ]was the one THEY just couldn't vote for. Though I am yet to see Gylenhaal & Ledger, CRASH has too many vulnerabilities to have been assured victory in a straight punch-up. Ultimately the piece is bereft of character development, although due correction would turn this into the prelude to the long running franchise needed to fatten so many characters before your cinema ticket had run out.
It remains simply brilliant story telling with no wasted footage. If you had read it, if someone recounted the way we did when video still meant Betamax, or you watched it unfolding scene by scene, it delivers its taller tale with clarity and with very few plot holes. It is exceptional entertainment that lands only metres short of art. Watch it for the first time and you'll be talking about it for days. Re-run the disc and it decends to a good night in, so much hinges on the plot revelations that you'll need to leave a lot of time before watching again to get the same buzz.
Judged purely by what it is rather than what it tries to be, it remains my favourite of 2005 - no question.
Der zweite Kinofilm von Paul Haggis, dem Drehbuchautor von Million Dollar Baby, entstand 2003 und sah das Licht der Kinowelt erst in diesem Jahr. L. A. Crash ist einer von den Filmen, die dem Zuschauer das Gefühl geben, eine lange Durststrecke hinter sich gebracht zu haben. Endlich wieder ein Film, der von der ersten Minute packt und nicht mehr losläßt. Endlich.
Es sind einfache Geschichten, die hier erzählt werden. Jeder Schritt ist nachvollziehbar. Um so härter ist es, sich diesen Geschichten zu stellen. Ausreden gelten nicht. Wir sehen alles und haben die Chance den Blick abzuwenden, dennoch sehen wir hin. Wir wollen das Spiel von Gut und Böse verstehen. Aber wie versteht man jemanden, dem das Wasser bis zum Hals steht und der auf Zehenspitzen balanciert und nach Luft zu schnappt? Nicht, daß wir uns falsch verstehen. Dies hier ist kein depressiver Film. Hier geht es um Hoffnung.
L. A. Crash findet an einem Tag statt. Er erzählt Geschichten, die ineinander greifen wie Zahnräder. Auch wenn am Anfang die Stränge scheinbar unzusammenhängend wirken, werden sie elegant verbunden und zu einem großen Ganzen. Dabei ist nichts an der Idee berauschend neu. Wir kennen Magnolia und Go. Wir haben Short Cuts gesehen, uns überrascht nichts mehr. Und dann kommt ein Kanadier daher und erzählt uns von Menschlichkeit, von der Härte unserer Zeit und von der Angst, die sich wie ein Virus in unserer Gesellschaft ausgebreitet hat. Wir leben in Furcht, weil die Furcht in uns lebt. Dabei ist es egal, ob wir in Amerika, Patagonien oder hier bei uns zu Hause sitzen. Die Zeiten haben uns ängstlich gemacht.
Das Casting hat große Namen, von denen keiner eine Hauptrolle spielt. Hauptrollen haben in diesem Film so viel verloren wie Kitsch oder Pathos. Jeder Charakter scheint sein eigener persönlicher Unfall zu sein, den das Leben zurückgelassen hat, als es mit 300 km/h in das neue Jahrtausend raste. Und weil es keine Hauptrolle gibt, dreht sich die Geschichte um jeden einzelnen von ihnen. Den Schauspielern scheint dabei die Seele seines Charakters ins Gesicht geritzt zu sein - Matt Dillon ist bitter, Don Cheadle hungrig nach der Gerechtigkeit und Sandra Bullock einfach nur verloren.
L. A. Crash wirkt ausbalanciert und bei einer guten Balance sind große Effekte überflüssig. Und wenn sich zum Schluß hin ein Vorhang aus Schnee über Los Angeles legt, werden wir mit einer außergewöhnlichen Zufriedenheit zurückgelassen. Rob Grant hat geschrieben, Schnee wäre das Tippex der Natur. Besser hätte er es nicht treffen können. Der Schnee bedeckt die Fehler und die Häßlichkeit dieser Stadt. Er bringt sie zum Schweigen, und das Schweigen schlägt Wellen und die Stille geht auf uns über.