We're pretty sure Mel Gibson would have been just as thankful. What they don't mention is why Spacey was also charged with rape? With Crash, the ironic reversals inflicted on each character according to their prejudice justified dancing them around like sock puppets. Sector 8 was a super-secret anti-drug unit being led by John Travolta's character and the whole thing was a meticulously planned con meant to make the army believe the team was dead so they could maneuver undetected in the future, and everything shown in scenes prior was simply part of the fabricated story they created to find out who was behind the drug dealing operation they were currently investigating. The gimmick: Third Person, which is centrally concerned with a prize-winning writer having an affair, came about (as Haggis candidly admits) because he is a prize-winning filmmaker who had an affair. Why it sucks: What soon becomes clear is that each storyline is an attempt by Michael to turn certain tragic events in his life into (ah-ha!) The plot twist: Angela’s name is actually Peter and he/she is the real killer. We've gotta say, as soon as we got to the ending, we smacked our forehead and cried out, "How could we have not seen that coming? Apparently too busy sucking themselves off over the stylish transitions and slick effects to bother with actual plotting, the makers of "Stay" created a movie with a plot outline that was actually already used in a Saved by the Bell episode (Rockumentary). Orphan (Jaume Collet-Serra, 2009) In this underrated movie, a young couple (played by Vera Farmiga and Peter Sarsgaard) who recently lost a child adopts a little nine-year-old from Russia named Esther, who reveals a certain inability to fit into her new family.
It could've easily ended like any good slasher film: with a prolonged sequence of the villain being killed, but then not really being dead, and then appearing again at an inopportune moment, but then actually being killed, but oh wait his eyes open up an instant before the credits roll.

Connect to your existing Cracked account if you have one or create a new Cracked username. But, for Haggis, a reveal can’t just jump the shark, it must launch a great white into orbit. Some people hear this ubiquitous writer’s maxim and try to interpret it so as to justify their script about time-traveling vampires. Interest-Based Ads.

Also, it should be noted that Carrey doesn't once talk through his ass throughout any of this. James Franco and Loan Chabanol in 'Third Person', Smaller TVs no longer good value, says Which? The twist: We still have no idea. Of course, we're supposed to overlook this minor dramatic incoherence because of the beauty inherent in two individuals being sexually aroused in the midst of several innocent people dying. But he’s back to his old tricks in Third Person, a meta-film that L.A. Weekly’s Amy Nicholson likened to “walking in on Laurence Olivier in the bathroom.” But what are those tricks? Honestly, it's not that hard to reveal the problems inherent to the Texas judicial system, where blacks are more likely to be executed than whites, where real innocent men have been executed in the past twenty years. Crash famously came about because Haggis was carjacked, which caused his white-guilt circuits to overload. In Crash, Haggis succeeded because he gave voice to all those dirty thoughts that political correctness had locked in the basement of the American psyche.
Crash is an all-you-can-eat salad bar of cliché: racist cops; angry black men; Middle Eastern shop owners; successful, anal white people afraid of minorities. ), Why it sucks: The twist:

Clich Hollywood Producer #3: Yeah, aliens. If you're on trial for something you didn't do, isn't the only way to prove the death penalty is faulty by doing everything in your power to defend your innocence, and then still being convicted anyway?

Who wants lunch?