All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
It started like any other night.
Cab driver Max picks up a man who offers him $600 to drive him around. But the promise of easy money sours when Max realizes his fare is an assassin.
"I read about this guy who gets on the MTA here, dies. Six hours he's riding the subway before anybody notices his corpse doing laps around L.A., people on and off sitting next to him. Nobody notices. "
Can I just be honest? I don't really know a lot about film. I may talk big about the depths of thematic development or the meaning of cinematic style, but like the rest of us I'm just making it up as I go. But if there's one thing I know for sure about movies it's that I prefer film to digital. I think digital filmmaking is good for little more than lowering costs. I love film stock. Sure, some of that comes…
It's truly incredible how many GREAT movies Tom Cruise has been in. Whether it's a drama like Eyes Wide Shut, or an action movie like Top Gun, and let's not forget a comedic role like Tropic Thunder; he is always in top form. There'e no denying that Tommy C is one of the best actors of all-time. I might not be the biggest fan of the real life Cruise, but as an actor I absolutely love the guy. Collateral is just another great Tommy C movie to add to the ongoing list.
Mann's MY DINNER WITH ANDRE.
A romance of sorts observing and never interfering with a study of American landscape (or cityscape, to be precise) jumbled up in an action film, setpieces intersect with constant development of humans and their emotions, it's only an action film to force the hand of introspective beauty, Mann captures the city from above because the screenplay tackles it from below and because the actors tackle it head-on, this film feels alive, and populated. Secondary stories weave into the film and out again, occasionally impacting the overall arc, subtext abounds in how Mann utilizes sources of light and he pulls off genuine tension multiple times, something very few filmmakers can manage.
Of all the impressive things about Collateral, perhaps most amazing…
Like a light-bulb clashing against the darkness, Michael Mann's Collateral is a battle of seductive forces more than anything else. Almost entirely composed of a mirage of lights combating the textural majesty of the night, the look of Mann's neo-noir is absolutely magnificent. LA comes alive in a way that fully evokes the humanity, depravity, and the alluring quality of one of the most sprawling cities in a state of constant interconnection. Bodies float, almost in a mythic fashion, across the screen like spirits lost among the fading stars.
Only a weak ending puts this down, and until then, It's easily one of Michael Mann's most ravishing and radiant films. The coyote scene will always be one of my favorite moments in all of cinema. I always feel like I'm going to simultaneously combust along with the images in this, mainly because the potency of the colors along with the overall focus adds up to one immaculate stream of imagery.
[urban lights bleeding into the sky, audioslave playing in the distance]
did u get it
it's cause he's a lone wolf
God that was intense.
What if Mark Ruffalo... was a Mexican?
I really like this movie... Love the ending and the performances
So much fun to spend two hours in the hands of a master craftsperson at his peak.
I almost gave this a 7/10 but the ending (and tom's fake grey hair) was too damn good. I didn't think it looked as good as manhunter but I could see similarities between them, in the framing and in the colour and character of night-time scenes, though this one wasn't so given over to pink and orange and blue neons - more white and yellow and grey (again: as the poster suggests). oh, and the soundtrack is excellent, it just fits this film perfectly.... I think I'm becoming a michael mann fan, you guys...
The humble working class everyman against the cynical suited man who exploits him.
Mann captures that feeling of The City at Night here about as good as anyone has done and I love the way the focus is so shallow, the lights in the background are rendered these expressionistic blobs & slashes of colour. Those handheld close-ups too.
The Actor Tom Cruise is fucking great, isn't he? I feel the need to say that. He's fucking great.
My appreciation of Collateral only grows with each passing year. I used to dock it a half a star for the look of the 2004 digital video but now I understand and appreciate what those compact camera's allowed Mann to do. Collateral has now been elevated to a 5-Star all-time favorite.
Watched this in the cinema back in 2004 and instantly declared it my favorite film of all time! One of the few films I immediately wanted to revisit. This movie started my still growing interest in scripts: a great genre idea (kinda high concept even) that also enriches our protagonists journey. Cruise is a power house and delivers, at least for my money, his best performance. Vincent's professionalism combined with his nuttiness is so entertaining to watch. He turns on a dime. Charming in one second, lethal in the next one and after that he quips some jokes and philosophies about the world as he sees it. PLUS we get L.A. nightlife with some stunning cinematography.
About 12 years later I still would point to this one as my favorite Michael Mann film ("Insider" is his best) all though it has since been replaced in terms of "favorite film of all time".
Step One: Go to www.random.org.
Step Two: Pick a Number.
Step Three: GET WEIRD!
Regardless of whether I love the overall film, I'm always able to appreciate great cinematography—which is probably my personal favorite…