Movie Star Blog

These are beautifull photos what a celebrity do this resemble

http://www.msnbc.msn.com/id/11700333/

Yes, the Academy screwed up. They basically said, hey we may be liberal but we still don't hang with fags. I've always said Hollywood is homophobic. Half the town is worried they might be queer and the other half is worried they're married to one. Drudge linked an article a couple of weeks back in which scores of Academy voters were telling the reporter that they couldn't bring themselves to even view the promotional DVD of Brokeback.

It wouldn't have bothered me quite as much if they had gone to a really good film such as Capote or Good Night and Good Luck, BUT CRASH!!!??

It's fundamentally dishonest and misguided. To make its points it contrives behavior that would either be atypical in present-day Los Angeles or plain aberrant, then attempts to make that behavior illustrative of broad issues of class or race. Sandra Bullock's histrionics about the Chicano locksmith might have been believable in a 1956 film, but not now. And Matt Dillon's frisk of Thandie Newton was simply perverted and criminal. These are not incidents from which to make truthful generalizations about race in America, though they might begin a discussion about the degradation of character, morals, and manners.

The scene in which Newton and Terrence Howard argue over how authentically black each is offends my personal conviction that every individual has the right to define themselves and (if they choose) elevate an assimilated, non-hyphenated American identity over ethnic chauvinism.

The film has some powerful, well-observed moments but overall I found it ick-making, misguided, and decades out of date.

Here are other critical pans:

"Characters come straight from the assembly line of screenwriting archetypes, and too often they act in ways that archetypes, rather than human beings, do."--Boston Globe

"The movie's 'naturalistic' photography and 'honest' racial invective are at odds with the theatricality of its speechifying and the contrivances of its chain of coincidences." --Commercial Appeal, Memphis

"Contrived, obvious and overstated, Crash is basically just one white man's righteous attempt to make other white people feel as if they've confronted the problem of racism head-on." --Miami Herald

"The characters and individual dramas remain interesting in a personal way, but the overall conception of Crash is hackneyed." --SF Chronicle

"Obnoxious, hollow, and not at all as smart or important as it thinks it is." --David Cornelius, Efilmcritic.com

"All the actors strive mightily not to get mired in the jackhammer moralizing, but it's mostly a losing cause." --San Diego Metropolitan