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Crash! (1978)
Movie Review by The Gravedigger

Crash! (1978) A thirty-something blonde woman, Kim (Sue Lyon), purchases a weird-looking small statue at a fleamarket from a creepy guy (Reggie Nalder of SALEM'S LOT). She thinks that her husband Marc (Jose' Ferrer) would like it for his collection, since he studies ancient statues.But when she arrives home she sees that he's watching old home movies of them playing tennis together and being happy--and now he's in a wheelchair because of a car accident in which she was driving. He blames her for his misery and wants her to be as happy. He tells her to leave, which she does, and ends up taking the statue with her. As she drives away he sends his pet doberman to attack her. It jumps into her convertible, mauls her, and she crashes. She somehow gets up and starts walking until someone finds her and takes her to a hospital, where she remains in a catatonic state. And she's clutching that weird sculpture in her first, refusing to let go of it. Next, her car is seen driving around and causes another car to crash, then destroys a police car that is after it. The car is driving by itself.

Her husband hears on the radio that his hated wife might be alive, so he sneaks over to the hospital, goes to her room and pulls out the IV's and unhooks the breathing machine without anyone witnessing this. This doesn't kill her, though. The statue is somehow giving her power. When she wakes up from her coma she can't remember her previous life at all and is taken in by a kindly nurse while she recuperates. It's only a matter of time until she regains her memory.

A detective investigating her accident sketches a drawing of her statue and takes it to the anthropology department of a nearby University, thinking that it may somehow hold a key to her identity. John Carradine looks at it and tells him that it is of Akaza, an ancient Hittite diety of death and revenge (that also loves to drive convertibles).

CRASH! is a really strange film. On one hand it's a possession movie, and those scenes when her eyes turn white and she moves stuff around are unnerving. This is, of course, intercut with the rather random scenes of the drive-itself convertible causing numerous car accidents. These are are all shown again for a second time, in a lengthy montage sequence, towards the end of the movie. I think this was just so the producers could get their money's worth for all those car sequences.

Directed by Charles Band

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