Collateral (2004)

Collateral (2004)

Tom CruiseJamie FoxxJada Pinkett SmithMark Ruffalo
Michael Mann


Collateral (2004) is a English,Spanish,French,Korean movie. Michael Mann has directed this movie. Tom Cruise,Jamie Foxx,Jada Pinkett Smith,Mark Ruffalo are the starring of this movie. It was released in 2004. Collateral (2004) is considered one of the best Crime,Drama,Thriller movie in India and around the world.

This action thriller follows LA cabbie Max Durocher, the type of person who can wax poetic about other people's lives, which impresses U.S. Justice Department prosecutor Annie Farrell, one of his fares, so much that she gives him her telephone number at the end of her ride. Although a dedicated man as seen through the efficiency in which he does his work, he can't or won't translate that eloquence into a better life for himself. He deludes himself into believing that his now twelve year cabbie job is temporary and that someday he will own his own limousine service. He even lies to his hospitalized mother that he already owns one, with a further lie that he tells her as such primarily to make her happy, rather than the truth which is that he won't do anything to achieve that dream. One night, Max picks up a well dressed man named Vincent, who asks Max to be his only fare for the evening. For a flat fee of $600, plus an extra $100 if he gets to the airport on time - Vincent wants Max to...


Collateral (2004) Reviews

  • Taut thriller led by Cruise's excellent work.


    For the better part of his career, Tom Cruise has played the All-American good guy. Gleaming eyed and bushy tailed, Cruise has played the roll of the hero in many films and is certainly the richer for it. Something happened along the way, though. Cruise wanted to be considered a legitimate actor, rather than merely a "movie star." Therefore, we've seen him go against type, successfully (MAGNOLIA), and not so much (THE LAST SAMURAI). It's as if Cruise is the neglected kid in the back of the classroom who knows all of the answers but is never called upon, and therefore will go to desperate ends for attention. "Oh, Oh!! Pick me!!! Pick me!!!" For me, Cruise hit it this time. His character in COLLATERAL is a menacing study in coldness. It is a thoroughly believable depiction of an utterly ruthless hit-man. It seems, finally, Cruise is actually BAD, rather than merely acting bad. He disdains his usual tricks in favor of a simple and very real performance. Let us not forget Jamie Foxx. His character's transformation into a hero is rendered all the more effective by how wonderfully Foxx captures his character's initial impotence and bewilderment. It's a wonderfully effective, energetic, and yet very subtle performance. Special kudos to Michael Mann. He has a very interesting eye when it comes to capturing the city of Los Angeles on film. His vision of L.A. in this film is one of unease and uncertainty, hardly the usual glitz and glamor treatment. This work is always compelling to the eye and paced to keep the action moving ever forward. Each scene has its own logic, contributing to the overall whole. This is first rate film-making.

  • "Yo homie, is that my briefcase?"


    Collateral is a nearly flawless, action, fast paced thriller with superb acting. It is without a doubt one of the best films ever made. The acting by the film's 2 stars, Tom Cruise and Jamie Foxx is absolutely masterful. These 2 already phenomenal actors displayed an even higher notch of excellence in Collateral. Acting-wise, this is definitely one of the most indescribably amazing movies ever. The script is very simple, and could have been easily taken way too far, however, Michael Mann makes sure that the story is not overdone, and delivers a solid beginning, middle, and fabulous ending. I know I've already gone over the acting once, but Tom Cruise definitely deserves even more recognition. He plays a professional hit-man just the way it should be played, and more. A hit-man isn't like Rambo, a hit-man doesn't have 5 machine guns strapped to his back and over 50,000 rounds of ammunition. No, Tom Cruise displays a purely flawless performance about what a hit-man really is. A hit-man is supposed to be gentleman-like, and they are supposed to act as if they are going about their daily lives, even before a hit. Many people believe that Tom Cruise's character in the movie was mentally ill because of the way he seemed calm one minute and killed people the next, however he was doing nothing more than his job. It is almost like in a football game, if you are originally a nice person, and you step on the field, you become a killer. Tom Cruise, when doing his job, is a killer. When he is not, he is nothing more than a normal man. This is how great of a performance he delivered. Collateral opens up with a punch, and never lets up. It is my favorite movie, and one of the most superb action flicks ever made.

  • Mann's stylish view of a blue lit, dark LA in a rare character driven (action) film


    Dirty, sun baked, sprawled, crowded... LA generally has its soul borne to us in sunsets and palm trees, highways and high-rises. Michael Mann and his creative eye for detail and engrossing storytelling style showed us a different Los Angeles. One of soft lights that spill from their street lamps, blues that mix with whites and mingle with greens. His veteran hand having wrought films such as HEAT and Ali, Mann delivers a beautifully created film, which compels the audience to not just watch and listen, but to be a part of the film, and to truly challenge the characters brought to life on screen. Tom Cruise plays Vincent, a cold contract killer in LA for a single night of hits. Through an interesting course of events, Max (Jamie Foxx), a timid cab driver who lives on dreams never full realized, gets pulled into the whirlwind of murders as the driver for a hired assassin. The majority of the film is just that, Max and Vincent. Cruise drowns himself in the role, training in weapons handling for months beforehand and plays Vincent as a cobra, a natural killer of lightning reflexes and sudden violence. A contrast to Nathan Algren of The Last Samurai, Cruise plays a morally flexible man of questionable scruples quite well, characterizing a dystopian apathy well. Foxx gives a terrific and serious performance as Max, showing well his growth through the film. Also uncharacteristically heavy, the character of Max was a challenge well met by Foxx. The admiration between the two characters is evident only via the actor's incredible performances and without such subtle and silent respect for each other, the characters (and thus the film), would fail. A modern Film Noir, Collateral starts with a smooth beat and never skips until the final notes. Music choice is excellent, flowing into and out of the smooth and extremely choosy camera work. Without interrupting the scene, the music simply adds to the pressure and tension. The first shots of the film set its tempo; a combination of quick shots of characterization, tearing tiny pieces of meaning from a whole, and large, smooth panning shots in filtered digital, lighting in even blues smoothing all of LA's rough edges, present the film immediately as a piece to be taken in. Los Angeles is presented in all of its sprawling, seedy glory as a ponderous, living, breathing and dangerous American Hell in the most beautiful way in years. Stylized artwork in the film results in beautiful scenes of high contrast, the medium gray of Vincent mixing with the blues, blacks and whites of the background and mis en scene to create compelling visuals. The smart dialogue, written by Stuart Beattie (Pirates of the Caribbean), is short, often witty and has a knife fight nature of quick cuts and ripostes. Mann's camera continues to bring the audience into the movie, slipping us into the cab to nearly intrude on the dialogue between Vincent and Max as they explore each other's limits over a series of threats, philosophical discussion and guidance in a setting so tense it nearly quivers. For most of the movie the audience never sees the action, only the Vincent and Max. Their growth is incredible, Mann coaxing amazing performances from his leading men. Masterful use of the camera, well written dialogue and incredible acting take a movie in which nothing happens, no explosions, no thunderous gunshots, no huge arguments or fanfare, and presents it as perhaps the most compelling and intriguing film in recent years. A macabre relationship develops between Vincent and Max which leads into sibling rivalry, relationship and life advice, moral guidance and general discussion of life which is an area generally left to close friends to breach. Poetic scenes involving an understated fight for motherly affection and a question of morality of the hows and whens to kill lead to an intense relationship that seems to bond the two men. In terminus, the two realize their admiration for the contrasting aspects of the other man and the resultant event is a confrontation, a skillfully manufactured climax. The most compelling aspect of the film is not the content but what that content means. As Max and Vincent explore each other and developed, their conversations pose questions and begin to form inquiries in the minds of the audience. Some answers are the easy ones; others are much harder to come to resolution with. There is no right answer to any of them. Never losing momentum, the film inexorably pushes onward through its motions, the audience running after it attentively. The third act of the film comes after a climactic gunfight and seems almost a let down until once again we are at home with Max and Vincent in the cleanest cab in LA. A series of quick twists deliver a more conventional final piece of the film, hurtling toward a final confrontation. It can not be emphasized how different the final part of the film is from the former pieces, nor how important it is to the film in its entirety. An interesting and intense crime drama, Collateral delivers in a way few films have in many years and will leave you walking away from the theater wondering at the significance of the film.

  • A Masterpiece


    Collateral is a masterpiece of American cinema. Jamie Foxx is Max, a Los Angeles cab driver with dreams of his own limo company, "Island Limo". After twelve years on the job he has become quite gifted at discerning the most intimate details of his passengers' lives... just a glance at their clothes, and he knows. His worldly insight manages to tear down the defenses of one of his passengers, a State Attorney played by Jada Pinkett Smith, who graces him with her phone number. Max hasn't even begun to revel in the pleasure of possessing the beautiful attorney's digits when he gets his next passenger, Tom Cruise as Vincent, a slick hit-man in town for a night of killing. When a body drops out of a fourth story window and onto Max's cab, he becomes an unwilling partner on Vincent's murder spree. Director Michael Mann (The Insider, Ali) does a masterful job manipulating texture and tone throughout the movie, taking us to settings as diverse as a junkie's apartment, a penthouse, a hospital room, and a smoky jazz club, all the while making the city of angels a central character in the story. The soundtrack is also excellent, with a mixture of popular music and ambient tracks perfectly-timed and synced to the story... tribal drumbeats during the chase scenes, haunting rock ballads at pivotal moments, and one track that reminded this viewer of the scene at the other end of Tom Cruise's career, when he drives his father's Porsche out of the garage in "Risky Business" to the accompaniment of a thumping synth track. A bizarre side-note, I know. As the movie builds to a climax, the police are hunting for Max, believing he is the one on a killing spree, and Vincent stalks his final victim in a blacked-out high-rise office to a backdrop of the brilliant LA skyline, reflected in multiplicity by the office's dozens of glass cubicles. Tom Cruise, Jamie Foxx, and Jada Pinkett Smith all rise to the occasion in Collateral, and together they transcend their previous appearances on film. Mark Ruffalo gives a good performance as the cop who knows everything is not what it seems. There are a few minor plot points which didn't sufficiently suspend my disbelief (like when Max agrees to take Vincent the vicious hit-man to see his Mother in the hospital), but overall this is a fantastic movie. Troy Dayton

  • Cruise control is outfoxxed!


    It is hard to lavish enough praise on the acting on display here from the two main protagonists. Jamie Foxx shows signs of the charisma and ability that made him a cert for the best actor Oscar for Ray. Meanwhile Tom Cruise is a sheer revelation as the psychotic but professional hit-man Vincent. Cabbie Max (Foxx) picks up Vincent (Cruise) expecting just another job. When Vincent offers to double his nightly earnings if he drives him all night he accepts, until Vincent's mission is revealed. What follows is a night of hell for Max, reluctantly driving Vincent from hit to hit, all the while trying to stay alive and do the right thing, two goals which may ultimately be unachievable together. What is most fascinating about Cruise's character though is the sheer indifference he shows towards his victims. He does not hate them, he doesn't even know them, he has just been assigned to kill them and does so with absolutely no remorse. When a body crashes on to his cab, followed by Vincent's re-appearance, Max is shocked by the answer to his accusatory 'you killed him!" - No, I shot him, the bullets and the fall killed him." This matter-of-fact approach is indicative of Vincent's professionalism, and adds a really chilling level of apathy to the character. It is certainly refreshing to see Cruise in such a different role, and it is one which he really gets his teeth into, producing a sociopath contract killer, seemingly with no remorse and no redeeming qualities. He pulls it off with a genuinely sinister edge on the character, and the final half hour is particularly impressive from an acting point of view. Jamie Foxx however is certainly by no means acted off the screen. His likable cabbie with relaxed attitude to life (well, until he meets Cruise) shows many of the qualities he used to really bring Ray Charles to life later. The action too is well staged by Michael Mann, in probably his best work since Heat. It is easy to track the action through the relatively simple plot, and the set piece scenes are competently done without being spectacular. A very good above average thriller, but most notable for Cruise's revelation of another string to his acting bow. A superbly acted film.


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