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.
On his first day on the job as a Los Angeles narcotics officer, a rookie cop goes beyond a full work day in training within the narcotics division of the L.A.P.D. with a rogue detective who isn't what he appears to be.
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 »
The crowd in the Korean nightclub isn't actually running away from the gunshots. They are just sort "milling around" and running back and forth.
This is especially noticeable when Vincent is trying to assassinate his target. Several people in the background don't run away as much as they run to and fro behind him. It can also be seen when Max and the detective make it out of the nightclub's exit as many people around the exit door aren't actually going anywhere. See more »
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.
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