In this globe-hopping parade of non-stop degradation, the participants get off acting as one another’s whores. Paul Haggis’ unwittingly sidesplitting multi-character experiment in reheating his Oscar souffle produces more of a clunk than a Crash. The all-star cast, as game as the material is gamy, boots us through over two hours of ringmaster Haggis’ voluble, slickly designed histrionics. Liam Neeson stars as a writer “who can feel through the characters he creates,” a technique the film’s creator has yet to grasp. The narrative throughline is strung together with more stridently amateurish matching-on-action transitions (gears shift in Rome, cut to a car accelerating in Manhattan, etc.) than there are at a Film Tech 101 end-of-semester screening. As much as I generally adore Olivia Wilde, her reaction to a clumsily foreshadowed “shocker” two-thirds of the way through rivals Sofia Coppola’s “Dad?” in The Godfather Part III. A must for connoisseurs of bad cinema. (2013) — Scott Marks
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