Sunday Morning when I opened the Calendar section of the LA times the headline of the full page ad for 'Crossing Over' was - "The Best New Film of 2009! in the vein of 'Crash' with a stellar ensemble cast - This Thought - Provoker will challenge and haunt you." Now I'm not a big fan of clipped blurbs, blogs, and self-motivated promotions. Lord knows over the years these clipped reviews have been more directed and oriented by studio marketing and public relations goals than any attempt at objective critique, but I have to admit, that this description of the screening of "Crossing Over' by Shelli Sonstein is right on the money. As a matter of fact, what puzzles me, on the eve of the Academy Awards this evening, is why wasn't 'Crossing Over' released in 2008? It's easily in the same class, or even higher, then the Best Picture nominees on tonight's presentation in Hollywood.
There is no mistaking the comparison to 'Crash'. Diverse people, stories, obstacles, incidents, linked compellingly together throughout a modern Los Angeles and Southern California and conveyed to the screen by an excellent screenplay and a dramatic ensemble performance. The story this time is immigration. It's an up to date, in the moment, coming to America rather than crossing into America. The physical lines of borders and fences are obvious along with the daily running down of illegals but 'Crossing Over' digs into the bureaucracy - the state, local, federal operations and the people that are asked to carry out the non-human drudgery, where work is an effort to detach rather then engage and off-work hours is a glipmse in how good intentioned people deal with the repercussions of their daily work days. This is more true in the characters portrayed by Harrison Ford, Ashley Judd, and Ray Liotta. But the clash, or for a better term 'Crash', is in the cultural, ethnic, and human rights costs, when bureaucracy meets immigration in a post 9/11 America. Of course the opening credits listed the popular leads but like 'Crash', all performances, even featured and supporting roles are on the same level. These less popular actors and their characters don't talk down or moralize their own specific situations or needs. Both low and high moral desires are laid out in their portrayals along with the developed stark consequences. It is a true balanced ensemble performance and the scenes, incidents, and conflicts are memorable.
As a long time resident of Los Angeles, the most ethnic diverse city in the world, I have to admit that maybe I'm being little biased about 'Crossing Over'. But I think films like this and 'Crash' come close to explaining what Los Angeles is all about. If more people throughout America can understand and appreciate the diversity, issues, and daily survival in Los Angeles portrayed in "Crossing Over', then maybe we can all finally grasp and answer Rodney Kings plea made back in the Nineties "Can't we all just get along ...?".