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Collateral (2004)

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A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles.



1,030 ( 448)
Nominated for 2 Oscars. Another 23 wins & 68 nominations. See more awards »


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Cast overview, first billed only:
Fed #1
Young Professional Man
Young Professional Woman


LA cabbie Max Durocher is 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 drive him to five stops ... Written by Huggo

Plot Summary | Plot Synopsis


It started like any other night


Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence and language | See all certifications »

Parents Guide:





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Release Date:

6 August 2004 (USA)  »

Also Known As:

Untitled Michael Mann Project  »


Box Office


$65,000,000 (estimated)

Opening Weekend USA:

$24,701,458, 8 August 2004, Wide Release

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:

| |


Aspect Ratio:

2.35 : 1
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Did You Know?


Stuart Beattie was waiting tables, when he ran into friend Julie Richardson, who he'd met in a U.C.L.A. Screenwriting Extension course. Richardson had become a producer on the lookout for good thriller scripts in particular. Beattie pitched her his screenplay "The Last Domino", and she liked it. Her boss, Frank Darabont, also liked it, and set up a meeting with HBO. They passed on the project after Beattie submitted another draft. He then begged his agent to set up a meeting at DreamWorks, where Executive Marc Haines read the script over a weekend. The studio bought the screenplay the following week. See more »


In the subway scene, Max and Annie run to escape Vincent but are really running toward him (the seats face forward and they run back past them). Meanwhile, Vincent is running forward and runs through at least three cars (position shown when the train makes a station stop in addition to progress being shown passing through doors while the train is moving). Max and Annie are one or two cars in front of Vincent yet the shootout takes place in the second car from the rear. See more »


[first lines]
Vincent: You OK?
Airport Man: Yeah, I'm fine mate, don't worry about it.
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Crazy Credits

There is no sound during the opening DreamWorks logo sequence but the sound of a jet landing are heard during the Paramount logo sequence. In the non-US versions, the studio logos order is reversed, so there is no sound on Paramount's and a jet landing is heard over Dreamworks'. See more »


Hands Of Time
Written by Andrew Cato, Tom Findlay (as Thomas Findlay) & Richie Havens (as Richard Havens)
Performed by Groove Armada feat. Richie Havens
Courtesy of Jive Records UK
Under license from BMG Film & TV Music
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Frequently Asked Questions

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User Reviews

Taut thriller led by Cruise's excellent work.
7 January 2005 | by See all my reviews

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.

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