New York Times
"Mr. Haggis's evident sincerity and intelligence are reflected in the conviction of the cast..." 05/06/2005 p.E30Rolling Stone
"The acting is dynamite, notably by Dillon and Newton....The film is a knockout." 05/19/2005 p.85 Entertainment Weekly
"The stunning, must-see drama CRASH is proof that words have not lost the ability to shock in our anesthetized society." 05/13/2005 p.65 USA Today
"The dialogue and scenarios are sometimes inspired....[With] intricate construction and intelligent, if melancholy, exploration of race and class warfare." 05/06/2005 p.8E Uncut
"As the interweaving plotlines throw unsympathetic characters together...the script makes many brave, original points about cultural clichés." 09/01/2005 p.142 Uncut
Ranked #15 in Uncut's Best Films Of 2005 -- "Haggis tackles this thorny subject matter with courage, wit and insight, unafraid to ask the tough questions." 01/01/2006 p.82-83 Entertainment Weekly
Included in Entertainment Weekly's Top Ten Films Of The Year -- "Paul Haggis has found an inspired metaphor with which to explore a modern-day L.A. snarl of race, class, and culture." 12/30/2005 p.120 Rolling Stone
Ranked #11 in Rolling Stone's "Top 25 DVDs Of 2005' -- "[T]he rage sticks, as do the emotions underlying it." 12/01/2005 p.98 Ultimate DVD
5 stars out of 5 -- "A superb interlinking ensemble drama..." 09/01/2006 p.212 FilmCritic.com 10 of 10
Superbly crafted and visually stunning from start to finish, Haggis's follow-up to Million Dollar Baby is on par with similarly structured ensemble stories like Robert Altman's Short Cuts, and Paul Thomas Anderson's Magnolia. All of the performances in Crash are first rate; to single out one would be an injustice to the others. Even those with the smallest roles generate a large impact. - David Levine
James Berardinelli's ReelViews 9 of 10
The best ensemble films are the ones in which the characters are given an opportunity to breathe (Magnolia, Short Cuts, and Nashville come to mind). With Crash, 105 minutes is barely enough time to let the numerous participants begin to inhale. The movie runs for long enough to allow Haggis to present the story, but we're left wanting a little more - a few extra scenes and an added conversation or two (especially between Newton's character and her husband, played by Terrence Dashon Howard). But I suppose it's always best to leave an audience hungry, rather than feeling overstuffed. - James Berardinelli
San Francisco Chronicle 9 of 10
"Crash," an ensemble drama about race relations in Los Angeles, has smart writing and taut situations. Writer-director Paul Haggis, who adapted "Million Dollar Baby" for the screen, puts characters into illuminating conflict and consistently devises turns of plot that are inventive and yet, in the best way, seem inevitable. Without doubt, it's a skillful effort, and it's also infused with passion. It's a committed piece of work. - Mick Lasalle
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