A list of Edgar Wright's favorite 1000 Movies per his list on Mubi on July 27th, 2016.
It started like any other night.
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in LA. He must find a way to save both himself and one last victim.
Michael Mann by this point in his career not only knew exactly how to inject sociological, philosophical and psychological exchanges, explorations and muses into the the sweaty-palm thriller, but how to perfect the latter and swing cleanly and brilliantly in with the former. Collateral finds his best traits in a riveting thrill ride that packs a staggering punch after being witnessed.
On a glance, this is Mann’s love of nocturnal urban twilight played out to its most visually poetic and interesting. The sights and sounds are quiet and lowly buzzing more often than not. The haunting moments in the dazzlement through this pull the audience through this nightmarish experience with a night-shift cabbie making his rounds and being pulled into…
"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…
[urban lights bleeding into the sky, audioslave playing in the distance]
did u get it
it's cause he's a lone wolf
Damn, I haven't seen a crime film with this beautifully directed of scenes since I saw Drive.
Even though I liked the song Shadow on the Sun before seeing Collateral, the way this movie uses this song is perfect. It's sorta like how Rick and Morty made me start to prefer the Nine Inch Nails version of Hurt over Johnny Cash's just because of how beautifully used it was.
Also is there a better nightclub scene than Collateral's, or any other director who can use an Audioslave song in a life-affirming car crash scene, or any better Tom Cruise performances?
So yeah, this film is alright, I guess.
Vincent: Look in the mirror. Paper towels, clean cab. Limo company some day. How much you got saved?
Max: That ain't any of your business.
Vincent: Someday? Someday my dream will come? One night you will wake up and discover it never happened. It's all turned around on you. It never will. Suddenly you are old. Didn't happen, and it never will, because you were never going to do it anyway. You'll push it into memory and then zone out in your barco lounger, being hypnotized by daytime TV for the rest of your life. Don't you talk to me about murder. All it ever took was a down payment on a Lincoln town car. That girl,you can't even…
Great, intense and realistic late-night thriller.
This film was very anticipated infact.
Tom Cruise is a Badass!
Very Underrated but is a must watch for film lovers.
Collateral is a textbook example of how to develop characters. Jamie Lee Foxx and Tom Cruise have excellent and intense chemistry which truly bring this film home. The film was edited with grace throughout the action scenes and incorporated a nice soundtrack. The film also succeeds in lighting, especially in the final action sequence. Collateral did however lack a little story. It has a nice twist but it was just a tad hard to get absorbed with the police element of the film. Overall, I had a fantastic time watching this intense and well edited film.
"Guy gets on the subway and dies. Think anybody'll notice?"
This film is absolutely gorgeous, and aside from that, it's driven and carried by two excellent characters created by two excellent performances. Vincent in particular, as played by Tom Cruise in one of his best performances is such an engaging villain. Equal parts terrifying and interesting, you simply can't do anything but give him your full, undivided attention while on screen. The themes explored by the film are done both obviously, but also in a subtle way, it's hard to explain for someone who hasn't seen it. It's an intense film, and it's in my top 20 favorites of all time.
I'd forgotten how funny this movie is. It's got a subtle organic humor that fits really well with the serious tone.
Really interesting lighting and cinematography creates a grounded dreamlike atmosphere. The Californian cities featured are faithfully captured.
The major downfalls of the film are some very movie scenes, and a number of plot-convenient turns to add tension and make the movie more movie.
The major draw is Vincent. He's a fascinating character. A true nihilist, right down to the gray suit and hair, Vincent uses the meaninglessness of life to justify taking it away for a living.
Vincent has expert knowledge of local and global news, law, Jazz... everything but how people think. But ironically, his emo rants on how unimportant the lives of Max and others are is the perfect cure to Max's apathy. Though it seems Vincent is endangering and devaluing Max's life, he's actually saving it.
Remember fall, 2001? That Bay Area deal? Oakland. Cabbie drove around all night. Killed three people...
Then he flipped out, put the gun to his head. So what?
So the Oakland PD detective, whatshisname, never bought it.
The Cabbie had no criminal record. No history of mental illness. Pops three people, then himself? And the victims weren't random. Two were involved in some pharmaceuticals scam... Anyway, the detective always thought there was somebody else in that cab.
Chills... and this viewing has led me to the fact that Fanning is just as much a main character as Max or Vincent. Also, with the final act, it becomes clear that this is a film about one man's enlightenment.
Production (effects, stunt/choreo, set/costume): 2/4
Cinematography (staging, camerawork, colour): 3/4
Acting (technique, chemistry, believability): 3/4
Sound (score, soundtrack, design, mixing): 2/4
Writing (plot/story, screenplay, themes): 3/4
Direction (editing, form, style, finish): 3/4
Ok, here's how voting is going to work:
Each ballot will consist of ten films, ranked. The first film will…
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…