I haven't seen either in a while. I saw Munich twice on the big screen.

Excuse the pun, but Crash renders racism as a black and white bubonic plague-like syndrome; it isn't interested in interrogating real issues, what goes into the many differing and different circumstances that cause people to view the world in the way they do. Paul Haggis is a hack; his scriptwork for Eastwood's Oscar-friendly pictures is in much the same vein. None of its narrative contrivances ring true; I hated pretty much everyone in the film. They're all cartoons; it's entirely implausible. It reeks of preachy educative bullshit, and it's completely empty.

As for Munich, I can't think of a more obvious attempt by Spielberg to make a mature, adult film; all those grim blue hues and the gritty, bloody violence - OMG here's full frontal nudity of a near-to-be corpse! OMG here's somebody getting shot in the skull! OMG here's Spielberg turning violence into attractive gimmick. The film is philosophically inept, politically numb and fatally flawed narratively - it's based on real events, of course, but the narrative is like a Peter Greenaway parody... here's a list of people who we're going to kill, and the film finishes when we get to zero. But we literally drown in the numbers.

Then, of course, you've got a multi-national cast speaking English in put-on accents. And the characters are caricatures; someone starts namepdropping Hegel at one point; LMFAO.

Spielberg's a kid, deep down; Schindler's List isn't the masterpiece it aspires to, nor is Saving Private Ryan; his best films are guilty of unashamed emotional prostitution, too, of course - Jaws is excellent - but at least they're not acting under false artistic pretences. He needs a new editor, as well; he's fine at beginning films, but since Saving Private Ryan, all of his films have dipped fatally in the final third.

He's a fine director of individual set-pieces - some of the murder scenes in Munich are finely done in themselves; as a narrative film, it's fucking rubbish.