02 03 Stop Loving Everything: And a thousand bloggers ran to their keyboards. 04 05 15 16 19 20 21 22 23 24 25 26 27 28 31 32 33

And a thousand bloggers ran to their keyboards.

DISCLAIMER: The Oscars suck moldy cow-udder as a rule. Ok. Read on.

Crash was the biggest batch of horseshit I've seen on screen in a long long time. First of all, does no one one recall the insipid Grand Canyon or the better, but flawed City of Hope both failing at the issues-ensemble-drama, a genre in dreadful need of retirement? Did no one stand up and say 'bullshit!" more than once while watching this movie? A single cop who picks up hitchikers? and isn't out crusing? Crash reeks of lazy screenwriting:
--damn, guys, we got a loose thread here and a movie to end.
---But didn't we already stretch it a bit by having Dillon's cop save his molestation victim?
---Nah, L.A.'s a small town, dingus. let's have Ryan Phillipe, you know, just by chance ...
--Yeah ... good idea ... he just, you know, goes out for a drive ...

The fine line between clever and stupid was never so clearly crossed. Not even the overrated Magnolia was that stupid.

I'm most sorry that so many sharp minds, some I know personally, were snakeoiled by this perfect example of eighth-grade-level screenwriting filled with overacting. Otherwise I wouldn't care, because Oscar always celebrates mediocrity with few exceptions (Midnight Cowboy). Did Crash director Paul Haggis thank Chuck Norris? Maybe not -- now that he's a Big Winner, he doesn't mention creating Walker, Texas Ranger back in the day.

And on a night when Robert Altman gets an honorary Oscar.

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