What's up, Rewatchable fans? As you know, we've done live shows in New York, in Philly, DC, in Chicago, LA many times we've never done Boston. I've been saving it for the right moment, the right moment is here. It's going to be Thursday, March 27th.
It's going to be the House of Blues, which is right by Fenway Park. And it's going to be the dream team. Me, Chris Ryan, Sean Fennese, Ryan Risillo. That's right.
We're all coming back. We're not touching the town. We're not touching the town. That one episode lives on forever on YouTube spot if I were not redoing it.
But we'll probably do a Boston movie. And tickets will go on sale. This Thursday, February 27th, that's the only couple of days away at 10 a.m. Eastern.
That's Boston Thursday, March 27th, House of Blues Thursday, tickets sales 10 a.m. Eastern, ringer.com slash events. And we're going to have a couple more things we're doing that weekend too. So I'm very excited.
We have not come to Boston yet. We're going to do it right. Hope to see you there. The Rewatchable is brought to you by the Ringer podcast network.
You can find us on the Ringer Movies YouTube channel. You can also find us every episode now on video on Spotify. You can see our beautiful, beautiful hosts, Joe and Robinson, Vayne, Lathan, myself. We don't normally do this.
We usually do movies we love and we can't stop rewatching by the Oscars. And we're going to do Crash, which won the 2006 Best Picture Award. And it's unbelievable. And it's next.
Joe, who is who? I just had a gun pointed in my face. Experience the most provocative and powerful movie of the year. We need his man here.
He died. Promise I'm going to find out. He put him over the crash. Two thumbs weigh up.
You had a conversation with God. What you got there? One of the best films of 2005. What did you do?
Crash. You guys have sorted out all your Marvel stuff. Yeah. Captain America Brave New World is a text exchange.
Yeah. So it's a spicy text exchange? Yeah. You don't care.
Why don't you do that? I don't care at all. I do care about the biggest Oscars Travis did in the 21st century. Crash winning over Brokeback Mountain.
This is a weirdly watchable movie, and I would even say a rewatchable movie that is also now kind of a comedy. That's what you said. I want to know what mood you're in when you sit down to rewatch Crash. There's good scenes in this movie, but the totality of it leaves me going, I can't believe this was happening on day where Bill was like, I'm going to fire up Crash.
I got to get my Crash. Flipping channels. Yeah. Oh, Matt Dillon's running up the hill.
Okay. Got a chance to hear in the car. Wow. I'll watch this scene.
Yeah. So I hadn't seen the movie in a while. I've seen it a bunch of times. I hadn't seen the movie in a while.
It's not very rewatchable. I have not seen it since I saw it in theaters. Maybe we call it the hate watchable. Now we're celebrating.
I thought it was the 20th anniversary of the one, but it's actually the 19th anniversary. When you get into the movie, there's just like a wave of nostalgia that you because of the cast. Yeah. And because of what place we must have been in society for this movie to have been made have been taken so seriously because like everybody in the movie is at a weird type of position in their career.
Yeah. It turns out as hot as he ever was in this movie. But we don't know that in 2005 when he's making it. No, it's also the same year.
Sandra Bullock is in a sort of and Brendan Frazier as well, like Brendan Frazier more than her. Brendan Frazier is in a weird woman. It's almost over for him as a star. Right.
Sandra Bullock is like, I'm being type cast in rom coms. I got to break out of this. I'm going to play the biggest bitches ever been a movie. Meanwhile, Michael Pina is on the ride.
Now, this is his first big job. Like Chial is taking control of his Hollywood A-list status in this one because he's also a producer. And then you look throughout the cast and there's just other people who this is either their first big serious thing. They're making a turn or Matt down near the end of being a major star.
Right. But this was supposed to be sort of his revival. Yeah. And it didn't quite work out that way.
He did get nominated. He did. He was the only actor nominated in this movie. And that's just one of the many delightful things about Crash.
What did you think on your rewatch? I grew up in. I don't think I've seen it. I saw it since I saw it in the theaters.
But I remember it so well. So rewatching it, I was like, these are sort of iconic, comical, but iconic film scenes. You know? The Madeline, Tindy Winton, Car Crash scene, Michael Pina with his daughter.
Like there's just a bunch of moments. Santa Feaulek falling down the stairs. Whatever it is. You know, there's something for everyone.
But I just remember this movie so well. Why did she fall down the stairs? You know what I'm saying? It's a karma, man.
I know. And she had a lesson to learn. Why did she fall down the stairs? So we could find out the Carals a bitch.
You know? That's the kind of thing that's the same with the maid. Yes. You're the only friend I have.
And then we used to have the whole movie that get it devastatingly right. And I'll talk about it. I'll talk about, like, talk about like, did you get emotional during it, this movie, a little bit? They're times just because the sheer human agony that's happening on the screen.
Sometimes you relate to it, but it's so hamfisted over God and heavy handed that you in its totality, you just cannot take it seriously. In its totality, it becomes funny because you start to think what race thing can happen next? Like, if all the characters that the Indians would have joined hands and started sinking, we shall overcome. in context of the movie.
Yeah, except instead you have Loretta Divine like coming in and saying like, speak American to me in the car crash in the end. Race. I like that nostalgia. I'm just out of the just saying every single, look, in a lot of ways I can make an argument that this movie brought me to LA.
We, okay. You saw us when you were like, that's where I wanna be. Yeah. Because he's like, I wanna be in a place where people have to crash into each other to feel something.
To feel something. I'm in Louisiana this whole time. And Louisiana has grown tired of my shtick. You know?
They know, I've been doing it since the sixth grade. I'm in all white classes. I'm injecting race and everything. They're immune to it, right?
It's not working on them anymore. Yeah. And crash comes out. I'm 25.
Yeah. I'm 24. I'm looking around. I'm like, where can I go to where I can revitalize the thing that I do?
Yeah. Boom. That's the play. LA.
Right? It's back there. And running up that hill. Vans like I'm running.
So, okay. So, when do you think LA is gonna go tired of your shtick? What do you think? Never.
Probably not. Yeah. It's too many people. It's too much shtick.
D shot and in basketball all day long. But every time I walk down the street, I say in a failed draft, somebody grabs me and go, see what happensin' South Carolina? Yeah. The outlaw and negro.
And I'm like, got a spring to action. You're just on call it all the time. So we ride to the wheels all the time. mechanism to kind of respond in anger to a movie like this.
So this was a slow build and I don't think it really, I don't think people really got pissed off about this movie until the Oscars. When it won Best Picture and you can go back and watch it on YouTube, Nicholson's the presenter and he does it and he reads it and he's like, the winner's crash and he goes, whoa. And you hear the crowd, the crowd, which I don't know if I've ever heard this at the Oscars, they make like a what the fuck noise, they're like, whoa, it's like one of those noises. And that was when this movie, it turned.
I think especially because at that Oscars, Angie had won director and once he won director, people thought, oh, surely Brooke I was gonna win Best Picture. And there was a thing, it broke back was the only movie to win PGA, DGA, and WGA and not win Best Picture Oscar. Which by the way, Enora's we're taping this before the Oscars but Enora's the next one. That could.
The conversation became really divisive after a while because what started to happen was it almost was like the Hollywood liberal elites wanted to award one type of film and they chose race over a movie with gay themes because we still weren't there yet. We weren't, we actually weren't. Yeah. But now it's broke back is such a great movie and it's kind of, it's kind of insane that it didn't win.
There was some backlash before the Oscar win. I only know this because I read a really embarrassing Roger Ebert column where he was defending. I know we're gonna hit that later. Yeah.
Where he's defending the movie against its critics. He loved it and then had a second. He went back. He went ahead and the Apple won.
People were like, actually it's not very good. And he's like, how dare you? A.A. Here's what you're missing about Crash.
Here's what you don't understand about Crash. Let me, Roger Ebert explain it to you. So that was all before I think the Oscar win. And yeah, then it really cemented itself as, I think if it hadn't won the Oscar, we definitely wouldn't still be talking about Crash.
We would be talking about it a little bit but not the way we talked about it. We became sort of the most famously egregious Oscar Best Picture win. The first piece I remember heading into an Oscar's remember reading was my favorite writer William Goldman. He wrote a Save and Private Ryan review before that Oscar's and he just fucking torpedoed it.
And it was great and it was like, oh my God. And it was kind of like, it was a glimpse of where the internet was probably going with some of this stuff. But by 05, some of the Crash pieces, they're really funny to re-read. People were on it pretty early.
Like this movie made people mad. I also like that movies like this exist where people either get super mad or super defensive about it because now, where do we have this in movies in the same way anymore? We don't because everybody kind of runs in a whole different corner. Everyone's in their little spheres.
A movie over here is the greatest things in sliced bread. And right now, everyone is in unison about Amelia Perez. They're not very many Amelia Perez defenders. That wasn't the case two months ago.
I think we do still get those debates. I don't think it was the case two months. By the way, when I say everyone, I mean the people. Like the industry seems to love the movie, right?
You're saying that the fantasy people. Yeah, like on Letterback's logging. Right, it's Amelia Perez. The people, everyone that saw it, which is like immensely offended by the movie.
However, the critical acclaim for the movie is perplexing them. It's actually driving the people, those people that hate the movie even more. Oh yeah. But you have two very distinct, different factions.
Crash was a movie that people were told that they should love. And they were told that like this movie is an incredibly biting and important criticism on race. The conversation that we all need to have. And then when you watched it, it was so comical.
From the very first scene, it was so comical. I was like, what for real? This is, we both take this like seriously. Every single stereotype is approached.
And then like sort of validated in the movie to a point to where it kind of doesn't mean anything in the end, it's just funny. I think the other difference, like there's the, if you want to talk about like online outreach culture, that's one thing, but there's also like, we aren't all collectively watching movies like this anymore. This is a $7 million movie, the small movie. I don't think you get the people as you're saying, don't go and drove to see this in the theater.
If they're watching it at all, they're maybe watching it on home and the background. So you won't get an opportunity for people to have that kind of debate about a movie like this because they're streaming, I don't know, white lotus instead or whatever else they're watching. She don't gave it real credibility for me when it came out. The fact that he was a producer.
It didn't get made without him. Yeah. And just at the point of the career, he was that, I just really liked him. He'd been in stuff I liked.
And the fact that he was in it was like, oh, maybe, but it was even an 05 pretty notable that it was a white director. And that's something in 2025, there's no way a white director makes this movie. I think it's zero chance. No, it's interesting.
I don't know. You think that's zero chance? I don't know. There's just like, every time I think we're done, every time I think we're done, we come back to it.
So they'll never stop making Green Book. I have a list of movies like this. They'll never stop making Green Book. They'll never stop making the movie where white people solve racism.
That's gonna exist so you guys can feel good about yourselves and perpetuity. But I'm so happy. You guys always will have one of those. Thanks.
This movie though, I feel like can only be made by a white director. Okay. Well, yeah. A black man cannot have directed this movie.
Why? Because the movie, it's a movie about race that's obviously made by somebody white. It ignores, in my opinion, so much historical and contemporary context to put everyone in these trite, stupid, like racial stereotypes. It's working so hard to make you believe that we're all a little good and we're all a little bad.
The movie actually has one of the most grotesque scenes of police misconduct that I've seen in the movie. You know what I mean? Beyond like a cop just shooting somebody, but literally a sexual assault, then it has that exact same police officer save the black woman's life. You cannot justify that scene.
And be a black director. You cannot justify that scene. And be the hero. And be the hero in that moment.
Madeline running up that hill to be the hero. It's a hero shot, but yeah. Hero music, too. Yeah.
There's like no possible way you could justify that scene if you are Steve McQueen, Barry Jenkins, Ryan Coogler. Like you can't, it's impossible. Also to your point, I think all the racism is so obvious and broad that it just ignores the subtler, like microaggression, sexuality of how we navigate our lives. And so everyone is just like a caricature of a racist that can make you feel good watching you a white person watching you are just like, well, I'm no Santa Bullock.
So I'm fine. I'm not racist, you know? Right. The movie starts off with these, obviously this is the same before that, but two guys who we don't know are carjackers, right?
One dude is ludicrous as character is ridiculously hyper aware of every racial microaggression exist. He's also hyper aware of this entire construct of American racism. And he's even talking about how big the windows on the bus. On the bus, sorry.
All of that stuff, right? What you will consider to be woke. However, he is chosen to be a criminal. A criminal with a code that he doesn't rob black people.
He's got this entire worldview, this entire politics, that he's chosen to go out there and be a criminal. The moment they go, cause we got guns, I'm like, yeah. Let's get into it. This guy, he's talking to me.
Are you telling me about, yeah, let's go. We're gonna have a wild ride with this one. First picture, best picture film since Rocky in 1976 to only win three Oscars. To show like what a shocker this was.
By about the 10 year anniversary, the first thing the end of the decade, that was when the first backlash really happened. By 2015, they were writing about it and Paul Haggis, the director, he said, was crashed the best film of the year. I don't think so. Crash for some reason affected people, touch people.
People still come up to me more than any of my films and say that film just changed my life. And for that, dozens and dozens and dozens of times. So did its job there. I mean, I knew it was a social experiment that I wanted.
So I think it's a really good social experiment. Is it a great film? I don't know. That's also Paul Haggis on his like, I'm no longer a Scientologist tour.
That's a whole part of this narrative. Like, why did this win best picture part of a Scientology? Explain. Paul Haggis, massive Scientologist.
And a lot of this is like, Scientology at the height of its secretive power in Hollywood before it starts. Like in 2007 is when you start getting bigger exposés on Scientology and start saying like, oh, hey, where is Shelley Miskovich? Like, what has happened in Scientology before that? They're operating in the shadows.
And this is like one of their biggest, you know, Haggis wins for Million Dollar Baby. Like, yeah, wins your crash. It does like three films the following year. Like he's on a heater.
And then he leaves the church of Scientology. And the minute he does, he's gone. Yeah. And that's just like, I'm sorry.
I don't even sound like conspiracy, Joanna. But that is- I'll give you the background on him. Long time TV writer in the 80s, 90s, early 2000s. When the back-to-back screenwriter Oscars.
War protection is for one best film for this movie. Yeah, did family law. Was that the bald guy? I don't remember family law.
35 years Scientologist left in 2009, three years after we wrote Casino Royale, which is like his last big Hollywood thing. And then he's one of the ugliest me two stories. He had like a civil suit from Reap and got bankrupted by it two years ago, claimed that church framed him. And they had another really ugly meeting.
And they had another thing. They got arrested, yeah. Yeah, yeah. So yeah, that's part of the history of this movie.
Yeah, I'll talk about them people. So the cast includes two future Oscar winners. Brandon Fraser is in a book. Terence Howard, Matt Dillon, nominated, Sheedal nominated, Michael Pena, Ryan Felipe, kind of tail end of the Ryan Felipe era.
Felipe, you mentioned Newton, how do you say it first thing? Felipe, oh, is it? Oh, Tindy, we. Oh, Tindy, we Newton.
Tindy, we Newton. Yeah. I call him Ryan Felipe. Oh, Tandy.
No, she goes by Tindy. Yeah, she changed her language. Yeah, that's very important. She did.
Ryan Felipe, you call him? Ryan Felipe. Ryan Felipe. Ryan Felipe.
Well, I'll call him what I want. Well, I mean, you can't, like I'll just say, I've never heard, I've literally never heard Ryan Felipe. You heard it now. There you go.
Jen, you heard it now. Luda Chris. Uh-huh. Lorenz Tate.
Yeah. Interesting Lorenz Tate role. So I was gonna do this later, but I genuinely like him and I like him in every movie and I don't know why he wasn't a slightly bigger star. He was in a lot of movies that I liked playing guys that I liked in the movie.
He had a really nice tenure run and then he just kind of went to TV and that was it. It's an interesting role for him because he spent the entire 90s building an undeniable momentum to become a high-level star. Yeah. He kind of was Cheeto, five years before Cheeto.
I mean, he literally went from critically claimed performance to New Jack City, right? He didn't, their presidents, another incredibly important cultural movie. The Postman, like that's your big, huge Hollywood joint, right? Then he has his starring role.
A couple of round-coms. A couple of round-coms, he has his love Jones, beloved film, then he has Wadufu's Fall In Love, which he's Frankie Lyman, that's your big bio. He normally, he spends all that time building up and then when Crash comes out, he plays, number one, he plays a lot younger, he plays like a 21 year old, 22 year old kid, which in and of itself is interesting. Yeah.
And then two, he plays second fiddle to a lot of people that he felt like he should have been on their level. Yeah. It felt like he should have been maybe almost, it felt like he made more sense in actually Don's role. Oh really, at that point?
Like, that point is career. But Don was the producer. No, Don was the producer. And Don was further along in his career than what was worth.
But that's the same age. But when you looked at it, I was, even when it was on back then, I was like, oh, it seemed like a role where he was trying to re-enter the conversation after having a couple of cool years or something like that. He is second fiddle to Ludacris in this movie. He is for sure.
Ludacris is a hub and actor. Ludacris is a hub and actor. I was like, I was like, man, I was like a lot of these movies. Ludacris is genuinely great in this movie.
He really is. He was surprised at how good he was in the movie. I was surprised. I don't like he's getting every fast movie.
I mean, he's been a fast movie, but he's not like trying to do anything in the fast movie. And I think he's good. So this was inspired by a real life incident where Haggis's Porsche was carjacked in 1991 outside of video store in Wocha-Broldard. The movie completely, by the way, just real quick.
I didn't know that until I started doing my research on the movie. The movie totally makes sense now. Yeah. Totally makes sense.
He kind of had this idea filed it away, wrote an outline for it, didn't do anything with it for 10 years. He wants to make a movie about all the microaggressions and the societal reasons that he was carjacked. He wants to make a movie about that, but he can't quite do it without bringing everybody else into it. And he feels neat to tell everybody's story to where really the story that he wants to tell.
Yeah. It's about being him, OI Guy being carjacked. He wants to know why that happened to him. Yeah.
And then that ends up becoming this entire movie where he has to kind of litigate why that happens to anyone, why everything happens to everybody. But really that's what he wants to talk about. It's obvious to me. Well, he said he real crashed to criticize racist and bust liberals for the idea that the US had become a post racial society.
Yeah, he got us. Got us good. He showed us. They had a 7.5 million dollar budget.
He took out three mortgages on his house. They reused locations to try to save money. They cast it way less. And they sold it in Toronto for 3.5 million.
He leased it in the spring of 05, built it wide, put out the DVDs in the fall. And then Oprah, that was the big stamp of approval. That whole cast comes on the show in October. Oprah stamps the movie.
Then they decided to put DVDs to the different guilds. They were the first movie to send the DVDs to all the guild members. I'll send you in a Best Picture Oster. Screener, Gay, Love It.
They created it. Oprah and Screener. Oprah and Screener. I remember two things about the Oprah thing.
Number one, I remember the big deal that it was that Ludacris was on Oprah's show. It was on Oprah's show as Chris Bridges. Oprah didn't really have rappers on her show. Yeah.
And Ludacris went on the show. He kind of called her out on it. And they kind of went back and forth. I think part of it was taken out of the show.
It was a big deal during the Oprah Hates hip hop era. What an air. That was a huge air. It was a big air.
Let's do that for the break. All right, Van, retrospective on Oprah's decision making. Wasn't expecting this in the outline. Here we go.
We're coming for Scientology and Oprah. Nothing. No, no, no, no, no, no. You're not going near Scientology.
No, no, no, no. Like, I'm one time starting people on Hollywood Boulevard, like recording people's faces. Y'all got it. Whatever y'all need.
But you're not scared of Oprah? Not as much. OK. Not as much.
Because I love Oprah. But this is with love. Sure. We got to look back at some of the decisions.
Number one, Oz, Dr. Phil. Obviously we took two huge sales there. Crash the movie.
Yeah. OK. What was the guy that wrote the movie and wrote the book? And he was on Oprah and the book was great.
He's not going to be a plagiarist. No, no, no, no, no, James Ray. James Ray. I think that somebody should do an Oprah spreadsheet.
Ring or narrative pod? Ring or narrative pod? So three, the guy who lied about his book. A spreadsheet about the things that Oprah has put us on.
And whether or not it's actually been super dope. You know what? You missed 100% of the shots. I'm going to call it Oprah, Looseray.
There you go. Yeah. There you go. Doesn't roll up time.
But we can work. We can work. Ah, that's an interesting title. I like it, Chef.
So, I don't. Well, here's my question about Paul Haggis pitches the show. Pitches is a TV show. Yeah.
What does Crash the TV show look like? Well, we've done that. They made it on stars. Oh, my God.
They're gone. Yeah. And then he died. Yeah.
But what is it? Well, he died. That's why the show got canceled. Well, what does it look like in the mid 2000s?
Where is it airing? It's an age of young. It's an age of young. No, it's an age of young.
Showtime is a great, it's a great call. HBO Passes. Might be stars because it was on Star. I think it's Showtime.
I think you're right. How about 10 years later is Crash? What is it? It's a Netflix.
It's for sure. It's a fourth show they make. So a couple other things. Terence Howard, we mentioned huge year.
Bullock is in the movie for less than 10 minutes. But it was really important. I remember being in it so much more. Yeah.
Here's, before we get to the categories, who's the worst person in this movie? Ryan Filledy. Why? Why do you think?
I think it's super miscast. No, I'm saying character. Oh, we're character. Yeah.
Well, he also does a murder. But so it's not a bad pick. What about Figner? I got to be honest with you.
That scene between Figner and Cheetah, that is the one scene in the movie that overwhelmingly works to me. Oh, I think that Tony Dansa seems good. That's a good scene too. I thought that was one of the most realistic things.
That's the one that's closest to an actual conversation that human has had in their life. But either one of those scenes, either one of those scenes, I've literally been both of those black dudes. I've been a black dude where some white guys sitting you down and he's telling you, you just don't know when to take a win. You have to get a little dirty to get what you need to do.
And I've also been the other guy. Listen, I've got fire for that. I've also been the guy where they're trying to tell you to ramp it up a little bit. And you're like, don't tell me how.
But I apologize for that. You've never played like that. I was like, don't even play like that. Because people will believe that.
But in that first conversation, the one that you said, the Cheetah figure conversation, when you had that conversation, did that person say to you, black people? Am I right? Is that something they said with their mouth to you? Obviously, they played a scene up a little bit.
They don't say it like that though. But what they do is they rap. They're trying to get to their end. It's a shit sandwich as a gift.
They're representing you. They're trying to get to their end. And they tell you, listen, you're not going to be able to do what you want to do by saying pure. You're going to have to get dirty and play the optics of it.
This is how the world works. This is how it works. Yeah, that conversation, just not the way that it plays out inside of this movie. No, because he sent all that to grab his attention to rope him in and make him know that I'm shooting straight.
I think the worst character in the movie as a human being is Sandra Book. It's completely unredeeming in every way. The Frodo Karen. It's not one redeeming thing.
I was going to bring that up later. Did she create the Karen character? What's the first Karen in movie? As I, your most Karen adjacent member of the Ringer staff, she's way worse than a Karen.
Like a Karen. The thing about a Karen is that it's sometimes subtle or insidious. And there's no subtlety here with this character. You know what I mean?
I still go for Matt Dillon, and I'll tell you why. Wow, it's a good choice. So I'm happy to argue it. Guys, there's no bad options in this movie.
That's true. They don't give Michael Pinier. He's got no red in his ledger. That's true.
He's the only Karen's in the movie. Well, he's the answer to the other question, which is who's the best character in the movie? He's easily him. He's easily him.
So they probably deleted a domestic violence scene with him or something. I got to make them not like him. But she gets traumatized early in the movie. The thing about that is that her fear gets validated.
She's scared of the guys. Yeah, she's holding the purse. But at the same time, they actually robbed her. So the rest of the time that she's freaking out about stuff, you're thinking, well, her instincts were right before.
You could almost argue it away as her being validated a little bit. But with him, he literally is having issues in another area of his life. He's the nightmare police officer. He's the cop that's having a bad situation at home, that's having a bad day that got stuck in traffic.
And because of that, he kills or assaults you. Like he did save the lady at the end and he is going through something with his father. But that's like the worst version of the fear that a lot of people have in the police. I think there's also, I mean, for me, it's because it's also a stomach, the Brendan Fraser character and the Fickner character and that whole, you know, office.
Again, it's like, it's settler. So it's a Brendan Fraser character. You could argue if you're watching it, you think, well, he's close to a good guy. He doesn't want his wife to say racist shit inside of his house and stuff like that.
But like, no, there's nastiness there too. And the nastiness that's hidden, I think, is much scarier than her spewing it around the house. At the end though, it looked like Brendan Fraser was- Oh, he's definitely fucking her. Getting it in.
That's the type of shit that we talking about. The leaded scene there definitely. Yeah, yeah. No, no, no, no, no, no, no, no.
100 miles an hour, Jesus. Where's no net? I interviewed her at the Ali chunk and I told you about that. Yeah, I beg her.
She's unbelievable. I don't know why she wasn't a gigantic star. I don't really understand it. It's like she didn't want it.
I don't think she did. And because there was, there's a moment here, I was seeing like at the end, she just kind of, she wasn't into it. Probably. 6.5 million dollar budget made 98.4 million.
Lowest grossing film to the best picture in 18 years. Last number. That's a great one. One Oscar is for picture, screenplay editing, nominated for director of Matt Allen and one more.
Roger Ebert, here we go. We love Roger Ebert. Everyone's in a while, he misses. The great one's missed.
Larry Bird missed a couple of game winners. Yeah. Jordan missed a couple of game winners. That happened.
Yeah. Four stars. Best film, 05 quote, not many films have the possibility of making their audiences better people. I don't expect crash to work in the miracles.
But I believe anyone seeing it is like going to be moved to have a little more sympathy for people not like themselves. Give the context though. What's the context? Give the context about Roger.
Why this movie might have touched him and affected him. Oh, because his wife. Yeah. What do you think that's it?
Yeah. I think he watched, I think that he watched the movie. And. What do you think she thought of me?
She probably was like, Roger, she's like, she was probably like, I don't know about that. He's that movie I hear. But he probably felt like in a place where he's been probably judged and people have made a lot of decisions about him and his life because he's married to a black lady. He probably looked at the movie and went, huh, I get it.
Because some of the shit that Roger's probably got probably came from the black community, which sometimes can be beatified in conversations about race relations. Yeah. So a movie that paints everybody is a little fucked up. He probably was walking with it a little bit, a little more than another critic would be.
After the Oscars, he said, as someone who felt broke back was a great film, a crash, a greater one. Yeah. I would have been pleased that either had won. And then he said about crash.
It's not a safe harbor. But it filmed the takes the discussion of racism in America. And the direction has not gone before in the movies. Directing attention at those who congratulate themselves on not being racist, including liberals and or minority group members.
See? See? Right. And or minority group members.
Roger was tired of people looking at him crazy at the end of the race. And he's like, you're racist too. Yeah, exactly. Yeah.
Well, Coach called it the worst film of the decade in 2009. This was the first wave of the backlash. He said, I don't think there's a single human being in crash. Arguments have propagated violently pumping into each other and pressed with the wrong quirkiness.
It's a kind of unthinking and curious, nihilistic multiculturalism. Nothing tempers my extremism more than watching a fellow liberal exhort the virtues of crash. Then he just goes on and on and on killing it. Let's get to the categories.
What's the perfect age to see this movie? Exactly. I have 65. Oh, I wrote I wrote 15 babies first racism.
Oh, interesting. Yeah. What do you think? You're the type breaker, 15 or 65.
I'm going to go in the middle. I'm going to go like 23. Why? Oh, because I think that it 23 is at the point where you could have, which is the perfect response to crash.
It's called the 10 minute regret. Crash is a 10 minute regret movie. We've also seen it before where you leave a movie and you go, shit, that shit was OK. Yeah, that shit was pretty good.
That's what they was doing. And then on the drive home by time you make a home, you like, fuck that movie. Like, you see, by the time you make a home, I like this. I've heard Van drop this take on countless superhero movies.
It happens all the time. Like, you leave the theater and you're like, they did it. And then by the time you get home, you're like, man, that shit sucked. Like, and crash is the perfect movie and the perfect time at 23 24.
You think you know the world. You know just enough to know that what you saw is bullshit. There's a cousin to the 10 minute take, which was my stepfather after we saw Godfather 3, which is the I've just lost my leg because it got bit by a shark. But my dad is telling me it's OK.
And then he got through his leg. No, it was OK. It was OK. It was good.
There was some good stuff in there. And that's like I have a bloody stuff for right leg. I think seeing it when you're younger and thinking it's really saying something and then watching it again with your when you're a little older. I think Joe's right.
But I think old people still the 65 and up crack. Craig, what do you have? I literally wrote down 72 year old rich white man because those are all the people that voted for his movie The Oscars. Yes, it's so validating for every old rich white dude.
Correct. Can't wait for Craig's take later. Category is most rewatchable scene. Carjacking scene.
It's a good scene. I say, uh, Penny and his daughter. Which from how, as for Michael Penance working on his her door? I would like the locks changed again in the morning.
And you know what? You might mention that we'd appreciate it if next time they didn't send a gang member. Yes, yes. You mean that kid in there?
Yes, the guy in there with the shaved head, the pants around his ass, the prison tattoo. Those are not prison tattooed. Oh really? And he's not going to go sell our key to one of his gang banger friends the moment he's out our new.
You had a really tough night. I think it'd be best if you just went upstairs right now. And wait for them to break in. I just had a gun pointed in my face.
You lower your voice. And it was my fault because I knew it was going to happen. But if a white person sees two black men walking towards her and she turns and walks in the other direction, she's a racist, right? Well, I got scared and I didn't say anything.
And 10 seconds later, I had a gun in my face. Now I'm telling you, you're a mego in there is going to sell our key to one of his homies. And this time it'd be really fucking great if you acted like you actually gave a shit. This motherfucker Michael Pena was going through it.