Several weeks ago I wrote, “it’s not worth either of our time for me to try to elucidate the reasons” why Crash is a bad film. But five minutes ago it won Best Picture, which may make it an issue worth delving into. Of course I’m also on record as saying that Paul Haggis “can’t write worth shit,” which is probably not a great career move if you’re an aspiring writer/director with no credits to your name–you’re calling out a guy who just walked off with two Oscars in his hands.
So it goes. I’m sticking to my guns.
When the mainstream press calls Crash’s win “unexpected,” “shocking,” and an “upset” tommorrow morning, ask yourself if it had anything to do with Lionsgate sending out an unprecedented 130,000 copies of the film as screeners (I can confirm this, as one of my friends in DC had it sitting on her coffee table, courtesy SAG). Or maybe Hollywood just loves Paul Haggis because Paul Haggis loves Hollywood, and he has no shame about trying every trick in the book to try to wrench a tear from your eye?
If I don’t find an already-existing, lucidly-argued piece on the internet to the same effect, I’m going to have to write the “Why Crash is a Bad Movie” post. I don’t want to, so I hope someone else has already done it. And despite the fact that I could care less about self-congratulatory, all-politics-anyway awards shows, every year I still manage to have a “throw my hands up in minor disgust” moment while watching the Oscars. In light of the rest of the nominations, which included some absolutely terrific films this year–and the fact that Jon Stewart is the best thing on TV today–I’m actually surprised that they still managed to leave me shaking my head.