Avaliações do Metacritic

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

The strands don’t so much intersect as float into each other’s peripheries to basically inconsequential effect, despite attempts to tie them together.

It’s not Altman, but its heart is in the right place and Drameh impresses.

While the film initially exercises commendable restraint in braiding its separate narratives, its second half grows increasingly reliant on pat connections and coincidences.

Though there’s clearly a compassionate impulse behind Leon F. Butler’s class-conscious screenplay, it rapidly devolves into implausible melodrama.

The actors are fine, but the material doesn’t give their talents much room to stretch.

The complete jigsaw doesn’t fit together, hampered by plot implausibilities and unrealities.

Intertwining, Altman-esque social tapestries are all well and good, but the connections between characters should ideally run a little deeper than having them occasionally stroll past each other in the street.

It’s six or so characters in search of a meaningful movie.

Throughout the film's three interconnected stories, Jim O'Hanlon favors the blunt, maudlin manipulations of Crash.