Wayne Kramer's Tasteless Immigrant Drama 'Crossing Over' Is Borderline Offensive

Borderline Offensive
CitizenNs arrest for Wayne KramerNs tasteless immigrant drama Crossing Over

HavenNt we been here before? The inbred mutant offspring of Crash and Babel, writer/director Wayne KramerNs Crossing Over treats the subject of illegal immigrants coming to (and from) Los Angeles with the same vulgarity that Kramer brought to his 2006 children-in-peril thriller Running Scared, this time (barely) concealed under a paper-thin plaster of Oscar-worthy self-importance.

Like the fictional New Jersey town that served as the backdrop for KramerNs previous film, Angel City is, for the filmmaker, yet another disenchanted urban forest filled with innocent maidens (Alice Eve as an Australian actress trying to make it in Hollywood); big, bad wolves (Ray Liotta as the INS honcho who offers the Aussie a green card in exchange for daily buttfucking privileges); and world-weary armored knights (Harrison Ford as the Immigration and Customs agent who never met a pretty illegal he didnNt want to save). Similarly traveling along their own bread-crumb trails are a bakerNs dozen of black-, brown- and yellow-skinned unfortunates on hand mainly to be crushed by the might of La Migra or squished under the steel-capped boot of post-9/11 racial profiling—which may nonetheless be preferable to getting rammed up the ass by LiottaNs cock.

Crossing Over begins earnestly enough as an old-fashioned exercise in Stanley Kramerish consciousness-raising, with Ford wearing existential angst on his sleeve as a callous colleague reprimands him, “Jesus Christ, Brogan! Everything is a goddamn humanitarian crisis with you!” From there, solemn overhead shots of freeways and skyscrapers serve as the Scotch tape crudely holding together the movieNs myriad storylines. Lest we forget that white people suffer, too, an atheistic British singer/songwriter (Jim Sturgess) masquerades as an observant Jew in order to obtain his much-coveted “status.” Meanwhile, a Muslim teen (Summer Bishil) gives a class report in defense of the 9/11 hijackers, then appears surprised to discover Homeland Security agents ransacking her bedroom. And an about-to-be-naturalized Korean youth (Justin Chon) resists indoctrination into the very street gang one was certain Clint Eastwood had already run out of town.

By the time we arrive at the serendipitous meet-cute-by-car-wreck of LiottaNs green-card gatekeeper and EveNs Kidman/Watts aspirant (who, by the way, happens to be the girlfriend of the counterfeit Semite), itNs clear weNre firmly in the hands of the lurid Kramer we know, if donNt necessarily love. WouldnNt she rather steal away with him for an afternoon quickie, he proposes, rather than end up in a San Pedro detention center where “some mama Latina makes you her bitch for a couple of nights”? Well, now that you put it that way . . .

Never does Kramer encounter a cultural stereotype he canNt repurpose. For most of Crossing Over, FordNs Iranian partner (played in a triumph of affirmative-action casting by New Zealander Cliff Curtis) glowers so contemptuously at his cleavage-bearing sister that when the girl turns up with a bullet in her head, the only surprise is that the movie thinks itNs a mystery. Meanwhile, when Ford travels south of the border in search of the deported sweatshop worker (Alice Braga) who has captured his heart, I could all but swear Kramer and cinematographer James Whitaker slapped a brown filter on the camera, the better to emphasize the developing worldNs pervasive filth.

And so it goes, with Kramer—who doesnNt really seem to like people very mucH N Mdash;failing to muster even the superficial empathy the makers of the similarly programmatic The Visitor and Rendition showed toward their own cardboard-cutout imperiled illegals. Eventually, all points converge on a finale draped in patriotic imagery employed for maximum irony, as Kramer haphazardly cross-cuts between a naturalization ceremony and a deportation—not exactly The GodfatherNs baptism by gunfire, in case you had any doubts.

There might be no more to say, were it not for the fact that Crossing Over once counted that paragon of liberal virtue, recent Oscar winner Sean Penn, among its ensemble, before either poor test screenings or PennNs own request to be cut out of the film—depending on which rumor mill you believe—saw him excised. Reportedly, PennNs storyline involved a border-patrol agent who crashes his car and subsequently “crosses over”—not from one country to another, but from this world to the next. Minus him, KramerNs film at least manages to clock in just under the two-hour mark. InshNAllah for that.


Crossing Over was written and directed by Wayne Kramer. At select theaters.

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