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No Gay ContentQueer Beacon does not claim credit for any images featured on this site unless otherwise noted. Queer Beacon is not responsible for, or has control over, the content of any external web site links. Information on this site may contain errors or inaccuracies; the site's proprietor does not make any warranty as to the correctness or reliability of the site's content.If you own rights to any of the images, and do not wish them to appear here, please contact us and they will be promptly removed.Outstanding movie, even without gay content. Although there was one scene which may be interpreted as gay content, it involves Ryan Phillippe picking up someone off the road, but I'll leave it out.Here, a bunch of characters interact because of a car accident. Racial prejudices clout their judgment. Excellent Acheter Des PO. The characters include Sandra Bullock actually acting, can you believe it? I went into the movie thinking, oh god, there are professionals in the movie, Don Cheadle is in it, what is Bullock doing there? Seriously. For most of its running time CRASH is a shrill wow po, nasty movie about shrill, nasty people. And because we, the audience, are unimaginative morons, all the vile stuff is pushed right to our nose. It's not enough to see the white cop groping the black woman; we have to watch his hands slowly wander up her legs. It's not enough to witness lil' Miss Shirley Temple's heroics in her Magical Cloak, we have to be shown in slo-mo the reactions of everyone involved. All of this, by the way, is served up in a movie with more jaw-dropping coincidences than an anthology of O'Henry stories. And those guys who've done those nasty, nasty things? Underneath they have hearts of gold. Even Sandra Bullock realizes that her maid is her best friend. (Terrific! But keep paying her salary, just in case.) The ending is so Hallmark heartwarming that you half expect to hear Bing Crosby singing "White Christmas wow gold." WHICH BRINGS ME TO THE SOUNDTRACK… This film has the most annoying, cloying soundtrack of any movie in recent history. It's pseudo Vangelis, pseudo New Age, and played nearly incessantly at a volume that drowns out dialogue. Obviously the makers of CRASH, like P. T. Barnum and Jerry Springer before them, feel you can't go broke under-estimating the taste of the public.
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