A lot to think about.

鍑是些直白的感官刺激，璐咋逻辑，也璐太高级

This film crawls through a part of your brain you didn't know you had.

While a bit on the softcore pornographic side for my taste, Cronenberg's 1996 Crash explores cars as extensions of the human body. In his typical style, this exploration focuses heavily on the sexuality and horror this extension can entail. The heavy use of sexual imagery is presented in a highbrow, arthouse style that mostly elevates the film above mere 'Skinemax' style exploitation. For that reason and the interesting portrayal of the human-car relationship, I would watch this again.

Kind of perfect, even if it constantly hovers on the edge of failure. Beautiful and dark, it's a really unique film…

For the DVD of this film the back cover has a quote from the New York Times, Janet Maslin. She says, 'Sex and car crashes'. Boy, that's informative, isn't it? Well, truth be told, that's all it is. A bunch of weirdos all get to know to know each other who all have the same fascination; Car crashes get them hot. How they even all meet is absurd. James Spader's character meets Holly Hunter by, you guessed it, crashing into her. And it just so happens she too is sexually excited by car wrecks. After his accident James meets Vaughn at the hospital who just so happens to be obsessed with this junk too. Eventually they all meet 'the group' who are all into this fetish. I've seen this movie more then a few times. It's a solid one star movie. Some of the most awkward sex scenes you've ever seen in your life. Besides James and his girlfriend, most of the other sex happens in cars. Not a lot of room to move? Everybody in their little group does each other, basically. Then there's the car wash scene. About the most awkward 5 minutes of your life. That's a pretty long car wash? The movie is shocking at first, and maybe even erotic in it's own way, if that's what you were hoping for. But after the shock factor, there's no story, the appeal goes away.

A must see of a classic movie.

Stylish and sexy movie, just as you'd expect. Kronenburg has great skill in eroticising otherwise inanimate objects and asking us if a brutal scar can become a fetish. However, regardless of how the camera might linger and the light play off a crumpled fender, the actual eroticism predictably comes from its very sexy female actors. This is kind of the problem, the cars and car accidents become a mildly interesting backdrop to some fairly gratuitous groping, fucking and fingering - so one wonders, or gets to thinking that perhaps the car story arc is not compelling or really adding much. Just as with the book, it's a quite unbelievable concept, that a fringe of people would create such a well populated culture, one that would a) survive long enough to develop any sort of intimate relationship b) would be so aroused in a car accident that they would want to be fucked on the bank their car had just tumbled over. I mean, there may be maniacs out there who fantisise about having a leg torn off in a collision, but I doubt enough of them that would gather around a person's house, to group masturbate over imported crash test videos. Fundamentally, while passing a gory crash site might be morbidly fascinating or even horrifying enough to raise the heart rate, this doesn't translate as sexual no matter how hard the possibility that one might is pushed. I don't want to disregard the artistic effort entirely, it's certainly got merit of sorts, its just that throughout watching the movie I was far more naturally inclined to think how utterly implausible and silly this all was, how unrelatable and not really charismatic any of the cast were. Regardless of how fictional and fantastic a story might be, I don't think the reaction a director would want to cultivate is one in which his audience is continually wondering if what they are watching is basically dumb.

Depleted the ‘body horror' period and subsequently, once passed to the drama genre, tackled the theme of the body as a vehicle to misplacement, in the ‘90s David Cronenberg chooses to depict the moral annihilation of a contemporary humanity that struggles to appease desires and emotional miseducation through a twisted binding with car accidents. The characters move as dummies gone adrift, depending to desires that can't be satisfied if not acknowledging that man doesn't rely upon technology for safety but, exactly the opposite, to unleash danger, in a dimension able to reawake dormant instincts submerged by civilised life constrictions and good citizens conformism. The fact that here is emphasized the sex desire alignes the movie to that cinematic current that made that peculiar aspect the weapon to shake society once again at the end of that linear (and by far naive) period of time that were the ‘80s and so create a new artistic possibility for strong dramatizations (1987's "Fatal attraction", 1989's "Sex, lies and videotape", "Sea of love" and "Dead calm", 1990's "Revenge", 1992's "Basic instinct"). Specifically the idea for this kind of theme could have come to Cronenberg on the set of 1995's "To die for", the Lars Von Trier's movie in which the sex desire and its manipulation lead to deadly consequences and the canadian director makes a cameo appearance. But while in all these cited movies the events are marked by strong-minded characters, the Cronenberg ones are cold passive victims of themselves on the verge of sacrificial fatalism and we have neither a hero, an antihero, nor a villian. The movie is one of a kind, an unexplored peninsula that still has gained no interest for further reprisal of the theme. It's a difficult movie to digest, so much that is very difficult to sentence if it has succeeded in its goal.

The greatest 01 hour: and 40 minutes ever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

This is a thing, people getting off on car crashes? Really? Man, that's weird. And kind of boring.

Deep allegory about toxic and broken relationships!

Overall, it's fairly evident that Crash isn't made for car lovers, but I'm stumped to say who this film is best suited for. ?It's a strange, highly bizarre, and unsettling drama film consisting of many unsettling scenes and unlikeable characters who are nearly impossible to understand and grasp. ?This is generally not my kind of film, and I'm confident I'm not alone here. ?Upon my first watch, I found myself looking away multiple times due to the extreme violence and the extreme level of sex scenes. ?There's a reason why the film is rated for adults. ?There's never been a film like Crash before, and I'm processing whether that's a good thing or a bad thing.

*Fatal car crash causing major trauma* James Spader: "This better not awaken anything in me..." In 1996, Crash polarized critics and was the subject of tremendous controversy. In 2021, Titane - which features very similar sexual deviance centered around cars - cruised to the Palme d'Or. The world just wasn't ready, but it's easy to see why traditionalists and conservative filmmakers got up in arms - the film is almost entirely focused on the fetishization of car accidents. No subplots, no points of familiar reference; it's a strange bit of deviance that the film sinks deeper and deeper in without providing any sort of Jiminy Cricket character to even understand the psychological decline of Spader and his fellow gearheads. It's explicit from the first minute, repetitive, and lacks much that can be clearly referred to as a plot. At times it's among Cronenberg's more disgusting films despite staying pretty distanced from the body horror effects that he's known for. And with all that said, it's also strangely creative, ahead of its time, and brilliant - a psychosexual maelstrom that you never really understand (nor are you supposed to), but in which you find yourself oddly intrigued even though it's a bit nutty. At first, the film just feels alienating and unrelatable (Holly Hunter gives Spader a nice flash a few seconds after he kills her husband), but before too long Cronenberg works his magic and lets the audience sink into this pit of hot tar, even when we don't necessarily share in the characters' fetish. Bizarre and challenging, but unique and original. Also, do these people have jobs or what? (4/5)

Very nicely done but I don't think it's the best Cronenberg's work.

Impressively sensual and grotesque all at once. Excellent acting, cinematography, screen play. A very unique movie. Highly recommended.

David wanted to make me uncomfortable again and it worked. But I enjoyed it, again. So there we go.

Hands down the worst movie I have ever seen in my life. I am completely confused on how and why the directors, producers and whoever wrote this. This movie is so racially insensitive. It's bad vibes. Makes no sense, no direction. Just pure bad vibes. What was the story line? Just a bunch of different races just having troubles? Is this meant to be some all lives matter stuff? There is so much I hate in this movie. Anyways 0/10 stars.

This really is weird and sick. The film is not boring at all. It is really twisted from beginning to end. The violence is a little sickening but the real shocks come from the perverse and sick acts that are performed in the film. There are no points that you don't want to watch but there are points when you don't want to see. Nothing particularly profound in this film but it makes you wonder what other people are doing and it makes you realise how much you are reliant on other people not wanting to kill themselves on the roads bringing you down to. Don't drive immediately after this.

Stylishly awful. It's about people who get erotically turned on from being in car crashes. What?? So the whole movie is about people who crash into each other and have sex at the scene. There, you just saw the movie.