Just as it has been done for years in Hollywood, the roll of the black male in this movie is quickly reduced to that of weakness and ignorance. At every turn, the black man is portrayed as either powerless or out of control (Howard) while the white man gets away with murder, and more specifically in Dillon's case, saves the day (that is, saves the life of a black women he initially harasses both racially and sexually).
Furthermore Dillon's cop character is classic American myth!
Although it is established early on that he is deeply flawed, it is ultimately suggested that his sins are to be forgiven due to his heroics. Because Dillon's character is never held accountable for his repugnance and moreover in the end romanticized, "Crash" does more to uphold the subconscious structures of white supremacy than destroy them.