Crash

It's no surprise that this movie is explicit, cars, sex, mutilation, all that stuff. In a short but broad summary this movie was " An anti-erotic hyper-sexual exploration of the emptiness of modern life. " and it was fantastic.

Sex, nudity, horror of a mutilation, overall strange, sexual deviants, hollowness in sex, a commentary on the human condition, a bizarre and extreme portrayal of how we will literally push ourselves to near death just for pleasure, this movie wants you to feel uncomfortable.

Great cast, amazing cinematic production, great soundtrack, everything is great about this movie. It's super erotic so it may be difficult to watch if not used to watching these sort of films.

There's something about Cronenberg and reshaping the human body. It's a concept that he owns and executes masterfully. Cronenberg is great when it comes to confusing/ distracting the audience with what's on the surface. Truly this film has many layers and many details. This is a work of art, a commentary piece. I too was distracted and disturbed but slowly realized the meaning behind this work, it started with the question, how was this movie green lit for production??

For those who believe that they're weird or they're strange, watch this movie and ask yourself if you could possibly fit in somewhere in the cast. This movie will make you feel holy, a strong feeling of normalcy will emerge within yourself. Unless if you also fetishize car crashes. Proceed with caution if not use to these sorts of films.

A detailed, dark, wild sexual fantasy of Cronenberg. Fantasizing & getting turned on by car accidents is pretty darn dark.

I love this film. I have now viewed it three times and I still keep getting something new out of each viewing.

I think it's one of Cronenberg's best. It is not, however, for the uninitiated. By that, I mean those who are not familiar with Cronenberg's previous work, and those who have not read J.G. Ballard, whose novel was the basis for this film.

Cronenberg excels at bringing difficult pieces of fiction to film. This is one such example.

The written works of J.G.Ballard are generally, dark, dreary, and disturbing psychological fiction. The characters in them are often very disturbed and socially dysfunctional. These are people who, often due to unusual circumstances, are not in their right minds.

In Crash, we are observing a group of characters who are all survivors of horrific car crashes. Like many crash survivors, they are, during their period of recovery, in shock. They are badly shaken. They are recovering from severe physical injuries, and they are disoriented, fearful, and emotionally numb.

Instead of recovering in the normal fashion, (how sad that we've come to think of auto accidents as normal) these characters stumble into the car crash cult of Vaughan. Vaughan, who is brilliantly portrayed by Elias Koteas, is a scientist who believes that there is a strong connection between the violence of a car crash and the passion of the sexual act.

He easily indoctrinates the other characters into his mode of behavior and beliefs. By staging car crashes for entertainment, by initiating traffic altercations with his followers and ultimately finishing with some very warped sex, usually involving cars, there is a metaphor being created. Accidents, and the viewing of them becomes foreplay. It's the eroticism of the automobile taken to an extreme.

Our society has had, what is often referred to as a "love affair" with the automobile. This love affair has resulted in a worldwide addiction to a means of transportation that is, in reality, often very unhealthy and destructive. Aside from the aftermath of pollution and the sheer carnage of the ever rising highway accident rate, this addiction also increases people's isolation from each other. Hidden in their private shells, they move about, only interacting with one another as necessary. This interaction rarely becomes intimate until it is violent, as in aggressive driving and accidents .

In Crash, the characters are all portrayed as cold hearted, numb, and incapable of true intimacy with each other(they sure have a lot of sex though). They are only capable of intimacy through their cars.

This film is a bizarre metaphor for the human condition and how it is affected by our choice of technology. It is not meant to make car crashes look sexy. It is meant to draw attention to how our most familiar technology has changed us and made us less human.

I love this film. Brilliant cast. Great cinematography. An excellent soundtrack by Howard Shore (multiple layers of cleanly played, very dissonant electric guitar, sounding like a cross between Sonic Youth and Brian Ruryk). Only Cronenberg would have the guts to tackle a subject as difficult as this particular work of Ballard's. I think he did quite well.

Depending on your mood at the time of viewing, this film can range from being shocking, amusing, revolting, hilarious, to even just plain boring. It's a great piece of art, but you really do have to be in the right mood for it.

Crash is a very sexually explicit film, but if you buy or rent this movie expecting it to be an evening's erotic entertainment, you are going to be disappointed, because it is also an anti-erotic film.

Even in the midst of frenzied lovemaking, the characters remain distant, their voices quiet and abstracted, their gazes directed inward. These are people who have been told all their lives by their culture, by TV and movies, that sex is, on the one hand, the most perfect form of communion and connection with another human being; and, on the other hand, that it is the ultimate in transcendent and transformative experiences. Instead, they discover to their horror that even during sex they still feel nothing. They crave connection, they are starved for a glimpse of transcendence, but no matter what they do, no matter who they do it with or how often, while their bodies may feel passion, their minds and hearts remain cold and empty.

In the more recent movie Pleasantville, the Jennifer/Mary Sue character is unable to feel anything either, and remains stubbornly black and white no matter how much sex she has, until her brother suggests that "maybe it isn't the sex" that is the key to moving from black and white to color, from passionlessness to feeling. Unfortunately, in Crash, there is no one to suggest to David and Catherine Ballard that maybe it isn't through sex that they will find the transformation and connection they are craving. So they instead seek more and more extreme forms of sexual stimulation, only to be disappointed again and again.

James is hurt in a car crash, and during his stay in the hospital he meets Helen (who was in the other car) and later Vaughan, a man who like James and Catherine is in desperate search of feeling, only he looks for it in the violence of car crashes. With Helen, at first James, then Catherine too is drawn into Vaughan's world, where sex and death (eros and thanatos for you Freudians) meet in the twisted metal of wrecked cars and the mutilated bodies of the victims of fatal car crashes and the survivors of near-fatal ones.

They attend staged recreations of famous car crashes, like the one that killed James Dean. They have sex in crashed cars, and start touring crash sites on the freeway as a form of foreplay. They begin to watch films of crash tests and fatal race accidents like other people would watch erotic films, and to have sex with people whose bodies have been mutilated by car crashes.

But not even the horror of mutilation or the adrenaline rush of near-death experience can lend James and Catherine's desperate coupling the depth of feeling that they so desperately crave.

Like all the people who buy expensive automobiles to give them a feeling of power and independence, only to discover that no matter how snazzy their car is, they still feel powerless and unhappy, James and Catherine have bought into one of our culture's Big Lies, that sex is the answer. This film shows us that it is not.

David Cronenburg's interesting but flawed film 'Crash', adapted from James Ballard's novel (Ballard also gives his name to the leading character), attracted huge amounts of controversy on its release and has one of the most striking voting profiles on IMDB that I have seen - also equal returns for every number from 1 to 10. In fact, there's a lot of admire in this sweaty, atmospheric adaptation that perfectly captures the sense of heightened alienation that charactersises much of Ballard's prose. While among the cast, Deborah Kara Unger is sexy as always, Elias Koteas is suitably creepy and even James Spader is kind-of OK, if you don't mind him doing that "lost little college boy grown up to be a pervert" thing that he first perfected as Graham in 'Sex, Lies, and Videotape', a role he basically reprises here.

But - and let's get real for a minute - this is a film about people who are turned on by car crashes! Now, what the hell is that all about? If you ask me, the film is trying to say something about the need for transgression in an age with no real taboos - so its characters push at an endlessly receding door, until in the end only death itself can offer a way out. The problem is that the film suffers from the same problems as the world it portrays - these people have no moral rules, so their actions carry no implications beyond themselves - which leaves us with an idea, with happenings, but no narrative "drive" as such. Without anything to set against their nihilistic desires, 'Crash' coveys no sense of tragedy; just driving around in cars, with sex.