When a sports agent has a moral epiphany and is fired for expressing it, he decides to put his new philosophy to the test as an independent agent with the only athlete who stays with him and his former secretary.
Cuba Gooding Jr.,
As students at the United States Navy's elite fighter weapons school compete to be best in the class, one daring young pilot learns a few things from a civilian instructor that are not taught in the classroom.
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
Starting with the car crash sequence up to the film's finale and end credits, James Newton Howard's score lasts roughly around seventeen minutes, and was intended this way according to Michael Mann on his DVD commentary. See more »
When Max sees the security guard at the office building he runs around to another door. The cameraman is visible in the glare of the building running next to Max. See more »
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 »
Who would have ever thought that Jamie Foxx and Tom Cruise would be an on screen duo? Well it has happened in fine fashion. Michael Mann's articulate direction and his obsession with nitetime LA have made this film fast paced an smooth looking. The basic plot revolves around Foxx as a cabbie who catches a stroke of bad luck by acquiring Cruise as a passenger. Cruise turns out to be a hit-man who is picking people off as his temporary employer sees fit. A wild ride through LA's nightlife gives way for a journey of self-realization for Foxx (whom dreams of his own limo company and tropical islands). The slick script and sophistication of the plot and character development always keep the audience on the edge of their seats. Although this movie has received good ratings, I feel that the film is slightly overlooked. Collateral serves as a great model for how thrillers should be made, and it delivers a great breakthrough performance by Foxx. Well Done!
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