Avaliações do Metacritic

Compared with the novel, the movie might seem predictable. But compared with other movies, it stands alone.

Cronenberg has made a movie that is pornographic in form, but not in result.

I'm not quite sure what David Cronenberg is trying to say in Crash, but whatever it is, he deserves a lot of credit for having the nerve to put it on screen and face the consequences.

The astonishing thing, however, is how pleasantly hypnotic the film is -- despite the fact that its subject is confined to peculiarly gruesome sex.

The Crash characters sleepwalk through this story in a state of futuristic numbness, seeking extreme forms of sensation because familiar feelings have long since failed them. It's a chilling, ghastly possibility that manages to exert a grim fascination.

Crash doesn't extend beyond its most immediate sensationalism. When the movie does attempt to find a theme, it slams into a brick wall of mumbo-jumbo.

For a filmmaker who in Videodrome and Dead Ringers so elegantly broached the unspeakable, Cronenberg has here made a picture that is all surface.

Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.

Cronenberg has said that he made the film to find out why he was making it. You may watch it for the same reason.

David Cronenberg's movie is a chilly meditation on this theme, carrying some cinematic interest but surprisingly dull given the story's outrageous subject.