All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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…
Mann's MY DINNER WITH ANDRE.
A gripping neo-noir crime thriller with an exciting plot featuring strong performances by both Jamie Foxx and Tom Cruise.
I just love how Michael Mann always uses simple dialogues to foreshadow the events that would happen later in his films. Tom Cruise is awesome in this and I think he should seriously play more villains. Jamie Foxx is really impressive too, that scene where he meets Felix in the club caught me completely off guard, instant proof that there is no such thing as an average performance from Foxx.
However, I'm rather displeased with the film's lighting. It's like Mann isn't sure whether he wants the atmosphere to be dark or bright so he decides to settle somewhere in between.…
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.
Its so rare to find a good modern American thriller that's smart and doesn't talk down to its audience. Aside from the last 20 minutes of this movie (which is brilliant) some of the most intense scenes of the film are the conversations between these two men, both of whom are portrayed stunningly. Foxx is great and Cruise gives one the best performances I've ever seen him in. I never thought I'd be scared of him!
The show belongs to Tom Cruise and Michael Mann's depiction of Los Angeles. 'Collateral' is easily one of the better action thrillers of the past 20 years. Shot mostly at night, it affords Mann the opportunity to exploit the beauty of Los Angeles at night, using aerial shots and sweeping vistas of the city, accompanied by a typically excellent soundtrack featuring superb electronic music as well as soul, jazz, and Mexican pop. This is in my opinion the best performance of Cruise's career, and probably my favorite film from Mann.
One fine thriller that instead of focusing on the action focuses on the character's it creates. This works to heighten the force of the action and makes this one of Mann's best works.
This review reportedly contains spoilers. I can handle the truth.
The beginning was my favorite part. The part when Jamie Fox meets Jada Pinkett Smith. The music was cool throughout the movie. The city streets looked pretty cool too. Oh and I loved the moment with the coyotes. It could have been an exceptionally, well-made movie, but ultimately it fell apart. Tom Cruise and Jamie Fox riding through the streets of Los Angeles, talking and the close-ups. That was interesting and something really cool could have come from that. For me it was the last half hour where it just fell apart for me. The end wasn’t worth the wait. Jamie Fox causing the car crash, the car tumbling over and over and both of them getting out okay. Then…
"Collateral" has great performances, action sequences that are shot and edited to perfection, some of the best cinematography ever in a movie, and a fantastic soundtrack. But the first 10 minutes were a bit rough, and it feels a bit longer than it should've been.
P.S. this is a borderline 5/5 (or A) movie.
Michael Mann does Night on Earth but with more shootouts and lashings of Audioslave. That coyote moment happened to me once as well and it was pretty spellbinding.
Action doesn't get any more existential.
In a strange way I feel like this film gives me a glimpse of day-to-day life in Los Angeles. Given the contract killing that might sound crazy, but the digital video, the time spent on endless labyrinth highways and downtown in the subway (aside: another Michael Mann tribute to Jean-Pierre Melville). It does all seem pretty disconnected from human contact, like Tom Cruise's character says so incongruously at the start.
Both men, however, are very good at what they do, and watching the interplay between the two actors at the height of their powers, delivering Beattie’s jazzy thematic dialogue, is almost as thrilling as Mann’s impeccably staged action set pieces. Almost.
I owe so, so much to Collateral, because it's one of the first films in which I realized that film is an art form.
Collateral follows cab driver with big dreams and little to show for it, Max, played by Jamie Foxx, who picks up smooth-talking, composed hitman Vincent, played by Tom Cruise. Vincent takes Max and his cab hostage, forcing him to drive him to his stops.
From scene one, I got just a taste of this film's beautiful filmmaking; it's obviously digital, but it has such a unique look to it that I had not experienced before, and I don't quite know how to describe it. You just have to see it. This goes hand-in-hand with Michael Mann's…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!