Collatéral

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.

This is a collision of two lives… All collapsed in the events of one night…

The movie starts with Vincent (Tom Cruise) arriving to L.A., a guy who just looks perfect…

Some people happen to people on purpose, in order to tell them something about their lives…And they sit somewhere and share two or three lines, and they leave, and you know, your life is changed…

When Max (Jamie Foxx) first meets Vincent, it was "who cares? He was a dreamer when he said: "I just saw the woman of my dreams…I'm getting married in my mind right now." Vincent says, "I want you to disconnect so that when you guy do connect, it's like day and night." And continues… "I got five stops to make. Collect signatures, see some friends, and then I got a 6 a.m. out of LAX. Why don't you hang with me?"

It's not until the offering of the money that you see really connect…

"Collateral" projects in a much deeper way into Cruise/Vincent character… He can become very quiet, and we can look at the screen, and we will feel that Cruise is totally in command…He's a quick draw…Vincent is fast…As an assassin, he must be economical in his moves…

The film focused some of the wildness, and what lurks below the surface of L.A. Just the opening shot, when we look at that cab driving out and we see the big paintings on the walls, it was just visual sophistication…

The movie is not an action story… It's a compelling drama with realistic action that works for the story… And it is done for an emotional reason… Cruise gives a dynamic performance as the cold-blooded killer… Foxx is terrific as the honest hearted guy driving a cab for twelve years, and both come together suddenly like a spike in a railroad right here in this point where things were going to change in one night…Jamie Foxx finds himself in the presence of a real adversary in the form of this bumbling cab driver, who has never fired a handgun in his life

People rave about Tom Cruise in other projects, but I'll say his best 2 for me are Born on the Fourth of July and this one.

It isn't just about playing against type. It's about the difference between playing someone who's bad and just being bad. It's about authenticity. You see it in great actors.

I'm new to this site but I've seen hundreds, if not thousands of films in my lifetime. He's one of the few modern movie actors who have this kind of star power. He's not as authentic (or instead of authentic I should say he sometimes looks like he's efforting his performance) in all of his performances as others (like a Spencer Tracy or Henry Fonda, for example), but when he's on...He's ON.

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.

Michael Mann's skills as storyteller, stylist, and controller of mood and psychology of characters is in one of its finest forms in Collateral, a summer blockbuster that's with equal measure of excitement and thought, dark humor and tough moments of violence and suspense. It's also one of only a handful of times in Tom Cruise's career where taking a chance dramatically with a complex character pays off. It's a 100 million dollar+ grossing movie, but its story could just as well be one set in the noirs of the 40s and 50s- a cabbie with some aspirations for his own business (and for a girl he picks up at the start of the film) gets taken over by a hit-man who's doing his rounds of murders all in one night. There's also cops on the trail, as well as FBI, but it's really more than anything about these two guys and the very stark, expected but still compelling climax. After the set-up gets underway, the film is as much character study as a typical crime thriller, and it's one of those splendid examples of style matching substance, where both contain some unconventional bits in what could have been a lesser film.

Along with a good script by Stuart Beattie, and Mann's perfectly nuanced digital night-time photography (more suitable and exacting for the mood than the recent Miami Vice), there's the acting. First, of course, are the stars with Cruise in a turn-around role as the antagonist, who spouts out little bits of Darwin and I-Ching, but for the most part is a stone-cold sociopath. Cruise, wonderfully uncharacteristic for what he usually does in his star vehicles, is more low-key, ominous, and at the end quite dangerous. Jamie Foxx, too, in his real deserved Oscar-nominated turn, is also unconventional here as a common guy who's put between a rock and a hard place. Maybe his best scene, or at least the one I would show as him being a much better actor than he sometimes gets credit for, is when he has to meet Felix (Javier Bardem) to get a new 'list' of people for Vincent. That and a few other scenes are both tense and with an undercurrent of cynical, harsh humor that helps balance out the dark nature of the events.

Collateral is also pretty re-watchable for a fan of this kind of picture, with a great score/soundtrack, great locations, and a couple of interesting ending images.