This one's all about the execution. Cronenberg rewires pay-cable softcore - all anonymous surfaces, languid pacing, and chintzy guitar - with help from a cast for whom Narcotized Overstimulation may as well be listed on their resumes under "special skills" and ends up with: a decent approximation of J.G. Ballard's novel, a baffling artifact of 90's arthouse provoc-auteurism, and one of the more convincing simulations of addiction ever captured on film.

It's convincing because he pursues his subject with the same singleminded fascination that the characters do: during Elias Koteas's first big scene, as he narrates a re-enactment of James Dean's fatal car accident for a small, rapt, and completely faceless crowd, Holly Hunter's Helen says simply "This is Vaughan's…

I was recommended to watch Crash by many people. It turns out they meant the 2004 film, not this one... oops. I'm glad I got the chance to see this, though, because it's not a film I would have chosen to watch at all. And for good reason to be honest.

James Spader loves a good fetish drama, and he certainly leads them well as he emphasises the creepy and often dark sides they can have. It really is a bizarre film, going from one to extreme to another and ending in possibly the most ludacris of ways.

Whilst at first I was really enjoying the film, despite its crazy premise, my rating lowered as it went on. The final…

I though I had heard of every kind of fetish but apparently not. This unlike anything I have ever seen. I know Cronenberg is known for his distinct type of film making, and the only thing that tops this would be "Naked Lunch" in my opinion. I would venture to say that this is a completely original film with a premise that is so bizarre that I can't even fathom a intelligible review. All I can really say is I enjoyed this on a completely visceral level. Cronenberg manages to put the viewer in a world that is dark, twisted, violent, sexual, and un-classifiable. This film stands on its own and will forever be a mind fuck of epic proportions.…

Bodies and machines
Sensual and orgasmic.
Searching for meaning
Amongst their scars.
Long live the metallic flesh.

A pitch perfect opening shot: a nipple rubbing against a metallic surface with all the pleasures that could possibly entertain. Crash is so distinctly Cronenbergian and ambitious in its thematic material it's hard to not enjoy the film: obsessions with the relationship between man and machine, how psychological developments manifest themselves into physical scars, and an addiction to the sexual perversity as a sign of humanity. Cronenberg's camerawork—his ability to diamond cut sequences together and move the camera into the compositions that evoke the anxieties of his characters without ever flinching—just as strong here as his best work. And it was never going…

This one's all about the execution. Cronenberg rewires pay-cable softcore - all anonymous surfaces, languid pacing, and chintzy guitar - with help from a cast for whom Narcotized Overstimulation may as well be listed on their resumes under "special skills" and ends up with: a decent approximation of J.G. Ballard's novel, a baffling artifact of 90's arthouse provoc-auteurism, and one of the more convincing simulations of addiction ever captured on film.

It's convincing because he pursues his subject with the same singleminded fascination that the characters do: during Elias Koteas's first big scene, as he narrates a re-enactment of James Dean's fatal car accident for a small, rapt, and completely faceless crowd, Holly Hunter's Helen says simply "This is Vaughan's…

I was recommended to watch Crash by many people. It turns out they meant the 2004 film, not this one... oops. I'm glad I got the chance to see this, though, because it's not a film I would have chosen to watch at all. And for good reason to be honest.

James Spader loves a good fetish drama, and he certainly leads them well as he emphasises the creepy and often dark sides they can have. It really is a bizarre film, going from one to extreme to another and ending in possibly the most ludacris of ways.

Whilst at first I was really enjoying the film, despite its crazy premise, my rating lowered as it went on. The final…