.: Roberts' Reviews - Movie Reviews :.

It might be too early to being talking about one of the best films of the year, but if the shoe fits, then Paul Haggis' new film Crash feels like that pair of shoes at the back of the closet too comfortable to throw away. Ironically, comfortable is about the last thing you are going to feel by the time the end credits roll.

In the vein of P.T. Anderson's Magnolia, Crash follows multiple characters through various storylines that intercept during the course of two days in Los Angeles. The common thread between all the players is the deep rooted bigotry and racism that each person exhibits. Whether it is the L.A.P.D. cop who's frustration with a black medical center clerk leads him to take out his anger on a black couple during a routine stop or the white socialite who reveals her distrust with the Hispanic locksmith, Haggis weaves an angry tale of people of all races that are have stereotype opinions on nationalities not their own.

Although there is no particular plotline that is at the epicenter of the film, Don Chedale as Detective Graham does get the most screen time. Starting the film investigating the murder of a young man dumped at the side of the road, we follow Graham through his arms length relationship with partner Ria (Jennifer Esposito), his involvement with a white police officer that has shot and killed a corrupt black cop and his rise through the department thanks to the Assistant District Attorney, Rick (Brandon Fraser) who extends an offer of title to Graham more for the color of his skin rather than his achievements in the field.

But maybe most interesting is the storyline with Matt Dillon resurrecting his career as Officer Ryan. Responsible for his aging and ailing father, Ryan follows a path of self destruction and ends up violating the rights of a young black woman (Thandie Newton in one of the many standout performances in the film) only to later have to come to the aide of the same woman after a traffic accident the following day. Ryan is a man in conflict. His lack of understanding why the world could be so unfair leads him to lash out at other cultures. But his duty to serve and protect in the time of need reveals a man who sees no color only a responsibility based on his oath of uniform.

No nationality is really let off easy in Crash. Whites, blacks, Middle Easterners and even Asians are seen as cultures that would seem to prefer to live in a world that consisted only of their own kind. They argue amongst themselves about how they are perceived by different races, and do not relent in their bias towards anything different.

Crash is, in a word, provocative. You can't help but want to talk about the film at its conclusion, and that is probably the best compliment that Paul Haggis would want to receive. As ugly as each character is portrayed for their hatred, each situation is explained without being condoned. Like the black television director that is bombarded with comments on his loss of blackness his wife through to the producer of the show. Of all the characters he has the biggest change of view from beginning to end as he forgoes his own life of harmony mentality to take on the police and other blacks who try to rob him of his dignity.

No easy task for a first time director, but Haggis gets the best out of his ensemble. Sandra Bullock in her small role as the ADA's wife is the best she has ever been and rapper Ludacris and Larenz Tate as the two car jackers show great range and offer the few lightened moments in a film heavy on theme.

Movies released in the first half of the year, rarely get noticed come golden statue hand-out time, but Crash should follow in the footsteps of Eternal Sunshine of the Spotless mind and at very least get a best screenplay nod.

But in lieu of any formal recognition, one thing is certain. Paul Haggis on the heels of his writing of last years best film Million Dollar Baby and now with Crash in his directing debut, is the new hot ticket in Hollywood and we will be hearing about him for a long time to come.