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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…
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.
The Coyotes were awesome.
Fucken Tom Cruise man
To be completely honest, I've been thinking long and hard about this film since my first watch of it a couple days ago... yet no matter how much I try to plan for ways to write a very long, multi-paragraph review for it, I just couldn't bring myself towards any actual progress. Their's so much I want to say about this film, and in my head I know how to talk about those ways to myself, but trying to actually put words down in a composed sentence seems borderline impossible. So regrettably, even though my last review was forever ago (I would write many more if it wasn't so hard for me to think of words to describe visceral cinematic…
i took a full star off bc of what they did to mark ruffalo
i can't believe it
how come tom cruise looks like a white haired albert wesker
That two-minute little jazz scene with Cruise riffing on what makes it so great is better than the entire runtime of Whiplash tbh.
Just got to see this at the theatre at my university for Cinema Night, at my request. So happy I got to see this on the big screen. I love you Michael Mann.
Disguised as a modern neo-noir action thriller (this facet brilliantly well represented only with an unforgettable scene in a nightclub by the way), and in its essence is really a psychological drama about the inconsistencies of the unfortunate in life. One moment, one night, a conversation and a person, can completely change our view of the world and our lives. At least that's what an extraordinary Jamie Fox discovers with a psychopath Tom Cruise in the backseat philosophizing about the values of life, while these two charismatic and highly complex characters begin a bond of hatred and respect in common as they survive the dangerous of Los Angeles night.
Films where their style fills the screen so absolutely, substance is but an afterthought.
Only added some that I've seen,…