Crash is to Babel as artificial flavoring is to the real thing. Alejandro González Iñárritu, who proved his artistic chops in the violently beautiful Amores Perros (only to dull his vision for the monotone 21 Grams) is back atop his game with a film that’s more interested in character than charting political undercurrents (Syriana), giving different perspectives on the same incident (Traffic), or demonstrating the human talent to uselessly connect random events (Magnolia). These characters, linked only by their humanity, anchor the globetrotting narratives (Japan, Morocco, and the thin line between Mexico and California).
Read on at [Film Monthly]
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