Reviews provided by RottenTomatoes
Maybe if he [director Wayne Kramer] had kept Crossing Over simpler, he would have made a less simplistic movie.
New York Times:
Crossing Over delivers its sanctimony with less hand-wringing and more fist-shaking, complete with lurid violence and periodically bared female flesh.
Like too many Crash wannabes, Crossing Over gets an A for effort and a C-plus for execution.
Tied together with endless, flattening shots of L.A.'s cloverleaf freeways, Crossing Over is often simplistic and occasionally lugubrious, but it's rarely boring.
There are good performances here, but the sheer number dilutes their power, leaving the movie a bit of a mess.
It's Crossing Over -- or as we call it at my desk, Crash: Special Victims Unit.
Los Angeles Times:
Forced, heavy-handed and overdone, it's a pretend serious film that offers crass manipulation in the place where honesty is supposed to be.
The characters don't relate; they trade expedient expository nuggets, when they're not speechifying. A surfeit of coincidence spoils our empathy. And when a character%u2014any character%u2014says "You doubt the veracity of my heart," you have to doubt the
Christian Science Monitor:
It's a powerful opening to a movie that rapidly fractures into a hodgepodge of interlocking subplots showcasing immigration woes.
You see, it's all a bit too interlocking, a cable series jammed into a couple of hours.
Director Wayne Kramer crisscrosses these stories into a diverting anthropological melodrama, with enough
coincidence to keep the action unified.
This all sounds didactic and silly. It is. It's also highly watchable, and simultaneously complex, simple-minded, and deferential to the audience's base level of intelligence.
Eventually, all points converge on a finale draped in patriotic imagery employed for maximum irony.
Part of the reason why Crossing Over doesn't work is that too many of the hurdles [director] Kramer places in front of his protagonists often feel like the product of a writer's imagination instead of real-life experiences.
New York Post:
This is a movie with the courage to examine the pressing issue of whether hot blond Aussie starlets are sleeping with government agents -- whom they meet in fender benders -- to get green cards.
New York Observer:
Writer-director Wayne Kramer gets uniformly terrific performances from a fine cast playing pawns in the game of sex, violence and betrayal that diminishes the noble tradition of naturalized citizenship.
A responsible message movie wrapped in an irresponsible exploitation flick that cries fire in a crowded theater.
Crossing Over may hold some appeal for those who loved Crash, but this is a diluted cousin to a film that was overrated in the first place.
Crossing Over seems to strain, with too many characters, too many story strands and too much of an effort to cover the bases.
Trust Kramer, though, to spring surprises with the help of a risk-taking cast.
An interesting failure, a movie that at least strives to be about something, entangling itself with the question of what it means to be an American -- or, more specifically, what it means to deserve to live here.
San Francisco Chronicle:
There's more genuine conviction in Ford's face, more complexity, honesty and ability to incite compassion, than everything else in Crossing Over combined.
All of its plot threads are equally dreadworthy.
Globe and Mail:
All we get is a mess of good liberal intentions loosely anchored to a mass of pure Hollywood hokum.
The film is so choppy, especially in the final going, it appears that entire reels have been cut.
Any one of these stories, if properly fleshed out and shorn of contrivance, would have made for a perfectly serviceable film. Instead, we have lots of hysterical little bits of nothing much.
Crossing Over has hurtled into Crash territory, and the smash-up is not a happy collision.
An overweeningly deterministic mosaic of U.S. immigration case studies.