![]() Everything about this film has been precisely put together to create a machine as efficient as those with which it concerns itself, and ultimately as fallible. This problem is hardly a surprising one, given Cronenberg's frequently clinical directorial style (there are conscious echos of Dead Ringers in the hospital scenes), and author J G Ballard's postmodernist, psychopathological conceptual work. The main problem with Crash, and a problem which has been exacerbated by all the fuss about sex, violence and car crashes, is that it is a slow-paced, sometimes deliberately remote piece of art which will leave many viewers cold. Depending on who you talk to, it is frequently reckoned as either the most brilliant or most pathetic thing to hit our screens in years. This is a film from which considerable numbers of people have walked out of cinemas in disgust. ![]() After all the hype over attempts to ban this film in Britain, it ended up with a far wider mainstream audience than would otherwise have been expected for what is essentially an intellectual art movie of necessarily limited appeal.
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