Collateral (2004)
Directed by Michael Mann
Written by Stuart Beattie
Starring Tom Cruise, Jamie Foxx, Mark Ruffalo
Release Date August 6th, 2004
Published August 5th, 2004
Tom Cruise has been at the top of his acting game the past few years with terrific performances in Vanilla Sky, Minority Report and The Last Samurai. Not only were these terrific films, they were also winners at the box office each grossing over 100 million dollars. At some point, the Law of Averages say that Cruise has to have a misstep, a failure. With his new film Collateral, Cruise once again is beating the odds with another terrific film and likely box office winner.
As the films poster says, it started like any other night. Los Angeles cab driver Max Durocher (Jamie Foxx) picked up his cab, cleaned it thoroughly and was on his way into another random L.A night. He picked up his typical rude, obnoxious, LAX going customers, that is, until he picked up a beautiful young lawyer named Annie (Jada Pinkett Smith) who bets him he can't get her to her destination faster by his route than her own. On the way the two flirt and Max even gets her number, this may not be all that typical a night after all.
Then the night takes it's most important turn as Max picks up Vincent (Cruise) a middle aged guy, gray hair, snappy but indiscreet suit, clinging to a high priced attaché case. Vincent is a little annoying, asks a lot of personal questions, he's seemingly one of those annoying glad handers who you just know has ulterior motives. Vincent's agenda is to have Max drive him to five different locations in a row for a price of six hundred dollars, more than Max would likely make the whole night. Even though Vincent makes him uneasy and it's against the rules, Max agrees and this life changing night is underway.
It doesn't take long for the night to get away from Max. On the first stop as Max waits in the cab, Vincent enters a rundown apartment building. Moments later a body falls from a window landing on Max's cab, Vincent exits the building soon after and Max puts two and two together. In an excellent dialogue exchange, Max says "You killed him" and the ever elusive Vincent replies "No, I shot him. The bullets and the fall killed him". Now it's on, and though Vincent had wanted this night to be incognito he now must take Max hostage and force him to help him finish his rounds which are tied to a drug dealer’s court case and the material witnesses that could put that drug dealer behind bars.
The plot is reminiscent of a smaller plot from the movie From Hell in which a carriage driver is employed to drive Jack The Ripper to and from each of his connected murders. Cruise's Vincent is quite similar to From Hell's version of The Ripper as an efficient, hired killer with a mysteriously meticulous purpose to his killing. However whereas the carriage driver allows poverty to overcome his conscience and becomes a co-conspirator, Foxx's cab driver chooses to follow his conscience and becomes a protagonist.
This is not your usual Hollywood-style hitman movie. The Hollywood hitman is more often than not portrayed as the anti-hero, not the villain. In Collateral, there is no question that Cruise is the villain of the piece and any attempt to humanize him in one scene will be undone by the next bit of violence. In this sense, Collateral shows more in common with Asian cinema's take on the hitman. He can be played as a straight villain or as the anti-hero that becomes more human through the plot and supporting characters. For some reason, Americans prefer their hitmen become heroic. If that is your idea of a hitman movie, then Collateral is not for you.
Another big difference between Collateral and most other Hollywood hitman movies is the style and rhythm of director Michael Mann and the script by newcomer Stuart Beattie. After 2001's disappointing Ali, Mann fell in love with the latest in digital technology and handheld camera work. In Collateral, he brings that love full circle using a combination of high definition digital and celluloid to establish the kind of dark noir-ish look that is unusually achieved through black and white photography.
Mann's direction is visual poetry that turns the city of Los Angeles into the third lead character of the film. The dialogue and the film’s soundtrack of Rock, Salsa, Techno and Jazz combine to give the film it's hum of life. This movie breathes and flows with the ease of a well oiled machine. The performances by both Jaime Foxx and Tom Cruise seem perfectly attuned to Mann's rhythm. Their dialogue and manner calibrated to fit into the scenery and stand out from it.
Tom Cruise continues on a streak of performances unparalleled by any other actor. For my money the man just keeps getting better and eventually the haters, and especially the Oscar voters, are going to have to recognize. Interestingly enough before Cruise gets his due, his Collateral co-star Jaime Foxx is likely to get noticed by Oscar. Not for this film but for his role in the upcoming Ray Charles biopic Ray. Foxx's role in Collateral shows his continuing evolution from mediocre comedian to real actor. It's been a good year so far for Jaime Foxx.
The supporting cast is filled out by Mark Ruffalo as an LAPD detective. Ruffalo seems a little too big for this rather small role but he is as effective as always. The film also features a terrific cameo by Oscar nominee Javier Bardem as Vincent's employer. Bardem's only scene, played opposite Foxx, is remarkable for how much the dialogue is so very Christopher Walken-esque in it's use of unusual metaphor and overall oddity.
Collateral is conventional only on the surface. In the good vs. evil sense, it is a conventional Hollywood movie. However in the numerous ways that Mann, his cast, and screenwriter Stuart Beattie tweak the Hollywood norms and what is expected of an action movie or a hitman movie, they make Collateral transcend anything that might be perceived as similar. That alone is worth the price of admission.
