Detective Graham Waters (Don Cheadle) and his partner Ria (Jennifer Esposito) get into a car accident en route to investigate a murdered body found in a canyon overlooking Los Angeles. Ria is ready to snap necks but Graham explains "It's the sense of touch…I think we miss that sense of touch so much that we crash into each other just so we can feel something." He ain't kiddin'. Crash begins at the end after 24 hours that have not only irrevocably changed Graham's life but also the lives of several other L.A. denizens who have inadvertently collided with one another. We go back to the previous day and meet an angry Brentwood housewife (Sandra Bullock) and her D.A. husband (Brendan Fraser) who have their car stolen at gunpoint by two carjackers (Larenz Tate and Chris "Ludacris"
Bridges); a paranoid Persian store owner (Shaun Toub) who tangles with a kindly Mexican locksmith (Michael Pena); a rookie LAPD cop (Ryan Phillippe) and his veteran partner (Matt Dillon) who harass an affluent black couple (Terrence Howard and Thandie
Newton) and then later ironically save them in separate hair-raising incidents. Black and white victim and aggressor there doesn't seem to be a right or a wrong as things escalate and culminate. The only common thread is the fact that life is too short to be filled with fear and intolerance.
The all-star cast is nothing less than spectacular. Cheadle tops the list as the beleaguered detective who keeps people including his partner and sometimes lover Esposito at a distance making his inevitable speech about touch even more poignant. This Oscar-nominated actor has the unique gift of lifting a scene to a whole new level just by sitting in silence. Bullock steps out of her America's Sweetheart box for a little while and plays the bigoted but lonely housewife while Fraser plays her workaholic husband with stoic detachment. As the cops Dillon giving one of his better performance to date and Phillippe aptly represent the two sides of the same coin: the racist careworn veteran whose vulnerability is revealed in a subtle way and the idealistic newcomer whose anxiety-ridden day takes its toll in a tragic way. Howard and Newton also turn in superb performances as respectively a television director who hardly ever makes waves and his emotionally wounded wife who can't believe her husband won't fight for her. Most of the more comical moments if you can call them that are provided by Tate (A Man Apart) and Bridges who emerges as yet another rapper who can act. His diatribes about racial relations are spot on. And lastly Crash's most heartening moments come from Pena (TV's The Shield). One night to allay his young daughter's fears he creates an invisible cloak that will forever protect her from harm--only to see it put to the test. It just rips your heart right out of your chest.
Television writer Paul Haggis who makes his directorial feature debut with Crash says his "aim with this film is to explore how intolerance is a collective problem." He should know. Living in Los Angeles he and his wife were once carjacked at gunpoint. Luckily no one was hurt but that one fateful night forced him out of complacency. Suddenly he wasn't immune. But more importantly he began thinking about who these carjackers were what kind of lives they lead--and Crash was born. Los Angeles is the perfect setting as the characters move around independently in their cars and in their homes. This insulated atmosphere only heightens the tension in the film. Real danger lurks on every frame--even in the lighter moments--and it's so gut-wrenching at times it's hard to watch. But just when you are certain some tragedy is about to occur Crash switches gears and surprises you. Of course films of this nature--such as Grand Canyon and Boyz N The Hood which do everything possible to get you to think and react--can also come off a tad preachy at times. In Crash's case it's a sermon we ought to listen to. You'll be hard pressed not to recognize at least to some degree a small part of yourself up there on screen.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.
After 20 years with the LAPD Det. Mitch Preston (Robert De Niro) just wants to catch the crooks finish the paperwork and retreat to his mundane life at home where he eats TV dinners and pursues his hobby of making bad pottery. Patrolman Trey Sellars (Eddie Murphy) really wants to be an actor--he's only a cop because he made a lousy waiter. When Sellars bungles Preston's undercover case and media hounds catch it all on tape the irate Preston shoots up a news camera that gets in his face. Over-caffeinated network exec Chase Renzi (Rene Russo) upon seeing the damning evidence that could have killed her cameraman is captivated by Preston's complete lack of charm and convinces her superior she can save his crappy network by pairing Preston and Sellars up on a reality show. As expected Preston is reluctant--and even more so when he's forced to take the mugging Sellars as his partner. The two take impromptu acting lessons from iconic actor/director William Shatner (playing himself) and set off to attract an audience boost the ratings become celebrities and get the bad guys in a televised reality christened Showtime. Meanwhile the evil Cesar Vargas (Pedro Damian)--whom we know is evil 'cause he hides in the shadows he's flashy and well groomed and he mumbles in an unfathomable Third World/ European accent--is stockpiling guns powerful enough to knock down houses and blow the doors off a Brinks truck.
The movie offers a few good yuks--a coke-sniffing dog an unprecedented cameo by jive-rhyming lawyer Johnnie Cochran and William Shatner satirizing William Shatner (who does this better than anybody else satirizing William Shatner). Unfortunately we've seen a lot of his funniest stuff like the scene in which he demonstrates how to roll over a car hood cop-style in the previews. Rene Russo gives an effective souped-up Lethal Weapon-type performance with her hyper pushy fast-talking network exec desperate to make her name in the industry. De Niro's straight-man comedy is in his facial expressions--or lack thereof--and Murphy is…well Murphy. It's their first outing together and they play off each other like a foul-mouthed version of Abbott and Costello (guess who plays who?). We've seen De Niro play grumpy (Midnight Run) and Murphy play obnoxious (almost everything) before. But as you may suspect it's their grade-A chemistry that holds this badly stitched predictable though occasionally funny flick together--especially in regards to the jokes on Hollywood and the current bounty of reality TV.
You can smell the gags and The Odd Couple-versus-Goldfinger plot unfolding a million miles away. You just know Preston is hiding a gun inside that Big Gulp when he goes undercover to investigate a pawn shop and you know Vargas will make bad-guy errors in judgment like staging a robbery in downtown L.A. the day after he's confronted by our star cops in a populated disco. But that may lead you to wonder why the police--who are likewise not presented as being particularly bright in this movie--weren't trailing him as Vargas is the prime suspect in the gun-trafficking subplot. Some of the comedy borders on satire but isn't played up enough for you to tell if it was meant that way or not. The action scenes are so badly edited it's hard to tell who's chasing whom until the camera cuts back to Murphy's toothy grin and a cement-faced De Niro shooting out his car window. And speaking of commercial-laden reality TV the product placement in this movie is shameless--we get a full-length commercial for Apple Computers played not once but twice.