That’s a Lotta Damage!

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Collateral (2004)

Written by Tom Fortner

Like Caleb, Michael Mann has largely escaped my Filmography Net when it comes to directors and I’ve only seen two of his films: Heat and today’s film, Collateral.

I’m excited to discuss this movie because it’s one of those that’s just hard to dislike. Even though it has a plot simple enough to be summed up by the line ‘Assassin hijacks cab’, it’s a thoughtful and intense thriller that isn’t afraid to take its time. In fact, the film, shot against the backdrop of a hazy, electric L.A. night, has vibes soft enough to lay your head on, and dialogue sharp enough to keep you awake.

That’s a Lotta Damage!

The two stars of the film are Tom Cruise and Jamie Foxx. What I love about these casting decisions is that both Cruise and Foxx are playing types of characters that they typically avoid in their career. 

Cruise is the silver haired assassin named Vincent. Foxx plays the cab driver, Max Durocher. What’s notable about the character of Vincent in Cruise’s filmography is that this is one of the few times he’s played a villain and the last time he’s done so since the film’s release in 2004. Jamie Foxx, too, is in rarely traversed territory as an easy going nobody with big dreams, whereas his usual roles lean into the comedic or badass range (such as Motherfucker Jones). It’s a blast to watch these two actors really showcase their talents by playing characters audiences aren’t used to seeing them play.

And it’s a good thing they play them so well. Without strong central performances the movie wouldn’t be nearly as impactful as it is because it entirely hinges on the relationship and conversations between the two leads. Over the course of the night, Vincent and Max get to know each other, almost to the point where it wouldn’t be unreasonable to expect a sort of Point Blank conflict to arise where Max or Vincent choose the other over the law or his mission respectively. For those who haven’t seen it I won’t spoil the ending, but it’s fair to say that by the end these two characters know each other deeper than anybody else in their lives ever has.

There’s a reason why Max and Vincent are often framed in isolating shots even when they’re in the same cab having a conversation. These guys are by themselves, and they’re also complete opposites. 

The Vibes, Man…

Beyond the amazing performances from Cruise and Foxx, as well as great roles from a greasy Mark Ruffalo and Jada Pinkett Smith, what really elevates this movie is its vibe.

Like I said earlier, this movie takes its time. It’s casual. It’s not a thriller that keeps you on the edge of your seat with non-stop action. No, this is a film filled with cruising cars and jazz appreciation, a love for L.A. and a tendency towards pondering the meaning of life. 

It’s this feel that makes the film so unique. Mann shot the film largely on digital because the film is set entirely at night and he wanted to utilize digital cameras' low light capabilities. This is why the look of the film is so soft and grainy and why light plays such a prominent part in the look of the film. The reflections of neon light off the side of the car specifically make me very excited for Mann’s upcoming Ferrari, just because of how sexy those shots are. 

Speaking of cars, I think the overhead car shots are indicative of this feel when compared with similar shots in David Fincher’s Zodiac. Fincher shoots the car straight above, right in the center, the camera seemingly attached to the car as it follows it with machine-like precision. Mann’s shot can only be described as flowing; the car isn’t in the center and the camera floats around it. It cruises, and so does the film.

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