There are two types of Harrison Ford movies: the ones that fall into the Oh-Sweet-Christ-This-Dude-Is-So-Fucking-Awesome category (see Raiders of the Lost Ark, The Empire Strikes Back, Blade Runner), and those that fall into the This-Guy-Kind-of-Seems-Like-a-Pussyish-Loser-Nowadays-and-Eew-Isn't-He-Schtupping-Ally-McBeal? category (Six Days Seven Nights, Random Hearts, Regarding Henry).
Guess which category Crossing Over falls under. I'll give you a hint: It's a touchy-feely ensemble piece about the effects of US immigration policy on an intertwined collection of racially diverse families in present-day Los Angeles. It's kinda like Crash, except more of the characters cry.
Ford plays Max Brogan, an immigration officer who suffers a guilt complex after he sends a particularly winsome factory worker back to Mexico. His partner Hamid (Cliff Curtis) is an Iranian whose conservative, traditional family has issues with Hamid's rambunctious younger sister.
Meanwhile, Ashley Judd plays a defense attorney who comes down with a case of the Angelina Jolies after she meets a cute little African girl in need of adoptive parents. Judd's husband (Ray Liotta) is an applications adjudicator who's forcing an Australian actress, Claire (Alice Eve, in one of the movie's better performances), to sleep with him to get her green card. And there are a million other characters of a million other nationalities and races, and they all want a big, juicy slice of American pie.
Crossing Over's script aims to be a tragic, epic sprawl, but it feels shallow, and the film's padded with endless aerial shots of Los Angeles. Ford has one memorable scene when he slyly flirts with Hamid's sister, but the rest of the time, he's a mumbling non-presence. Crossing Over tries to make us feel bad about the unfair difficulties of becoming a US citizen, and also to make us remember how everybody in the world wants to become an American because, by golly, we're terrific! But if this movie is any indication, we're actually self-righteous, pompous bores.