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While any one of these scenes could photography work fine on its own, the cumulative effect is awfully repetitive, and the implication that everyone in L.A. is virulently and outspokenly racist hurts Haggis' credibility. Sure, nearly everyone harbors some racial prejudice, but most photography of us express it a bit more subtly, if at all. Making it so overt so quickly rather than building up to it makes us feel overwhelmed and preached at. The film progresses through a tight series of such confrontations, many of which may seem familiar - the sheer volume guarantees that anyone who's ever experienced racism firsthand, from either side or as a bystander, will feel a bit of déjà vu. Though the quick sketching of the characters leaves little room for complexity, it speeds up the process of making us identify and empathize with them, so that when they get in over their heads we feel a sense of involvement.
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