The director, Antoine Fuqua, relies on small details, which anchor the vigilante-as-saint myth in at least a minimal degree of reality. — David Denby Copy Share Image
The Nazis, for him, are merely available movie tropes--articulate monsters with a talent for sadism. By making the Americans cruel, too, he escapes the customary division of good and evil along national lines, but he escapes any sense of moral… — David Denby Copy Share Image
Never throw fruit at someone who understands the theatrics of the situation better than you do. — David Denby Copy Share Image
“If you don't read books, and if you don't get consumed by the physical and moral life of men and women in fiction and… — David Denby Copy Share Image
Corporate irony not only ridicules the thing it is selling but the very act of selling it. In the process it disarms critics by… — David Denby Copy Share Image
The problem of criticism is not judgment but evocation - conveying the particular emotional and visual feel that the movie has. — David Denby Copy Share Image
Trivial details have been summoned, in part, to make a satirical point about upper-middle-class marriage-that the whole thing can slip away between the white… — David Denby Copy Share Image
“Whether white, black, Asian, or Latino, American students rarely arrive at college as habitual readers, which means that few of them have more than… — David Denby Copy Share Image
The director, Antoine Fuqua, relies on small details, which anchor the vigilante-as-saint myth in at least a minimal degree of reality. — David Denby Copy Share Image
“The trouble with today's snarky pipsqueaks who break off a sentence or two, or who write a couple of mean paragraphs, is that they… — David Denby Copy Share Image
Crash is hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it's easily the strongest American film since Clint Eastwood's Mystic River,… — David Denby Copy Share Image
