Crash 1996

Kenneth Turan, Los Angeles Times: So far from being involving or compelling, so intentionally disconnected from any kind of recognizable emotion, that by comparison David Lynch's removed "Lost Highway" plays like "Lassie Come Home." Read more

Janet Maslin, New York Times: Mr. Cronenberg, for once oddly inhibited by brazen subject matter, has made a meticulously stylized and controlled film that leaves many of its characters' ideas muffled and lacks the true audacity its material demands. Read more

Owen Gleiberman, Entertainment Weekly: For a movie obsessed with the connection between sexual intercourse and car accidents, David Cronenberg's Crash could hardly be more stationary. Read more

Globe and Mail: Read more

James Berardinelli, ReelViews: Read more

Roger Ebert, Chicago Sun-Times: It's about the human mind, about the way we grow enslaved by the particular things that turn us on, and forgive ourselves our trespasses. Read more

Edward Guthmann, San Francisco Chronicle: 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. Read more

Geoff Andrew, Time Out: It's a dark, disturbing, languorous movie, as ludicrous, hermetic and repetitive, perhaps, as Ballard's original, but admirably assured and true to itself. Read more

Todd McCarthy, Variety: While the director remains firmly behind the wheel for the first hour or so, he cracks up toward the end with sequences that send the film and the audience into a ditch. Read more

Desson Thomson, Washington Post: "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. Read more