Crash 

Crash tells various slightly interconnected stories set in Los Angeles that all involve racism in some way. An ambitious Caucasian DA (Brendan Fraser) is concerned that a recent car-jacking by two African American youths will alienate his minority constituents while his depressed wife (Sandra Bullocks) feels threatened by a Hispanic locksmith (Michael Pena), who himself is facing bigger problems from a Middle Eastern client.

Meanwhile one of the carjackers' Detective brother (Don Cheadle) investigates a crime where a white police officer has apparently shot a black undercover cop.

At the same time, a bigoted patrol officer (Matt Dillon), schools his new young partner (Ryan Phillipe) in the ways of the street and sexually harasses a young black woman (Thandie Newton) whose TV director husband (Terrence Howard) faces racial profiling in the workplace. There are more characters and situations, but you get the idea.

Crash is a well-made, well-acted sombre drama that at times recalls the work of both Robert Altman (Short Cuts, Nashville) and Paul Thomas Anderson (Magnolia, Boogie Nights) without ever quite achieving the casual verisimilitude of the former or the undulating emotional highs and lows of the latter.

The point of Crash - that no member of the flawed human race is innocent of racism - is made abundantly clear, almost to the point of overstatement. But the film's lack of subtlety in delivering its sermon does not detract from the power of its message, or its willingness to ask questions to which there are no easy answers.

That said, there is an unshakeable feeling that Crash is not quite as complex, or profound, as it seems to think it is. An obvious comparison is Anderson's Magnolia, another tale of connected but disparate souls in Los Angeles. From many angles Crash does not fare well in this comparison, but it is a more grounded and broadly relevant film.

Plus, there is no denying the joy of watching the impressive ensemble assembled for Crash all performing at the top of their game. Most worthy of singling out in this reviewer's eyes is Matt Dillon as a bitter racist cop who is granted an unlikely moment of redemption - easily the most powerful moment in the film.

Next Big Thing actor Terrence Howard (Ray, the upcoming Hustle & Flow) puts in another fine performance on his ascension toward leading man status and Don Cheadle (Hotel Rwanda) lends his trademark weight, but he seems like the actor stretching himself the least in this cast - heavy roles like this are his stock and trade.

Bullock and Fraser are also both good, but don't get to develop their characters much in their brief screen time. The range Phillippe (Cruel Intentions, Igby Goes Down) packs into his performance poses the question as to why such a talented young actor is so under utilised by Hollywood.

The always reliable Keith David (The Chronicles of Riddick, Mr and Mrs. Smith) makes an impact in a cameo as Dillon's weathered Lieutenant and the film displays a sense of humour in it's casting when Tony Danza displays his dark side as a producer showing Howard's director just who the boss is. Sorry.

It's encouraging that a film without an obvious commercial hook can be a success in America, where the filmic landscape is defined. It won't necessarily lead to a spate of socially conscious films, but it should remind the moneymen that a drama unabashedly concerned with difficult contemporary issues can still attract a wide audience.

While it can project alternately mawkish and depressing tones, Crash's ultimately hopeful message allows it to nudge aside its "quality film" pretensions to qualify as entertaining melodrama, the kind to be enjoyed with popcorn and soda.

Recommended.

Dominic Corry

Crash is in cinemas now.