David O'ConnellCollateral (2004): Tom Cruise's Killer Assignment
July 25th 2008 03:18
Michael Mann has always been a notoriously difficult director to work with but his perfectionism on set has resulted in some very fine films over the course of his long career. Heat is probably at the top of the pile, with The Insider not far behind. A personal favourite for me though is his harrowing, stylistic jaunt through one very dark Los Angeles night as a hapless cabby takes another seemingly regulation fare, only to discover in time that he’s taking a hitman for a ride, stopping here and there for the odd contract fulfillment!
The fascinating relationship that develops between the two isn’t the only memorable thing about Collateral; Mann’s aesthetic choices give the film a unique perspective and this remains the most exiting film shot on HD video to date I think, all the sharp, neon-lit nocturnal hues, the deepest blacks and blues, sparkling at night - the visual depth cinematographers Dion Beebe and Paul Cameron achieve with their look is brilliant and wouldn’t have nearly the same impact in daylight.
As with all Michael Mann films his choice of music is fascinating too, drawing on pieces of original score from James Newton Howard - who provides a particularly startling setpiece for the train station finale – and mixing it with a multitude of cleverly chosen source music. Somehow, as he did with Heat, the different pieces mesh to provide very cohesive musical support to the arresting images.
Cruise as Vincent, the relentless and amoral hitman, with his striking silver/grey-tinged hair, gives one of his best performances – it’s probably my all-time favourite of his actually, and he’s perfectly complimented by Jamie Foxx’s battling cabdriver Max, a man we can easily sympathise with, working long hours for his young family, who is simply in the wrong place at the wrong time. He’s totally believable as he gets sucked into Vincent’s vortex of violence and manipulation and was a real revelation in this film, earning an Academy Award nomination for his role (winning in the same year of course for Ray).
Mark Ruffalo as Fanning, the cop on the tail of the destruction and carnage left in Vincent’s wake, is also strong support.
It all boils down to the whims of fate, this chance meeting between two men who can’t identify with one another in any way but are thrown together for this one fateful night of their lives. Though the final twist may be just a bit too coincidental and conventional as well, we believe it and there’s no denying it’s tension-filled and compelling right to the end.
Besides Dion Beebe as one of the D.P’s, there’s another Australian connection here with the screenplay credited to Stuart Beattie who is continuing to work on big-budget projects including co-writing duties with Baz Luhrmann on the upcoming epic Australia.
Collateral is a winner, gripping at every turn and only tightening its hold as the brilliant finale plays out. It’s one of Michael Mann’s finest works and one I’m sure will stand the test of time, maybe not quite in the elevated class of Heat, but I think it’s almost as good.
The fascinating relationship that develops between the two isn’t the only memorable thing about Collateral; Mann’s aesthetic choices give the film a unique perspective and this remains the most exiting film shot on HD video to date I think, all the sharp, neon-lit nocturnal hues, the deepest blacks and blues, sparkling at night - the visual depth cinematographers Dion Beebe and Paul Cameron achieve with their look is brilliant and wouldn’t have nearly the same impact in daylight.
As with all Michael Mann films his choice of music is fascinating too, drawing on pieces of original score from James Newton Howard - who provides a particularly startling setpiece for the train station finale – and mixing it with a multitude of cleverly chosen source music. Somehow, as he did with Heat, the different pieces mesh to provide very cohesive musical support to the arresting images.
Cruise as Vincent, the relentless and amoral hitman, with his striking silver/grey-tinged hair, gives one of his best performances – it’s probably my all-time favourite of his actually, and he’s perfectly complimented by Jamie Foxx’s battling cabdriver Max, a man we can easily sympathise with, working long hours for his young family, who is simply in the wrong place at the wrong time. He’s totally believable as he gets sucked into Vincent’s vortex of violence and manipulation and was a real revelation in this film, earning an Academy Award nomination for his role (winning in the same year of course for Ray).
It's a long, difficult night for both Vincent and Max
Mark Ruffalo as Fanning, the cop on the tail of the destruction and carnage left in Vincent’s wake, is also strong support.
It all boils down to the whims of fate, this chance meeting between two men who can’t identify with one another in any way but are thrown together for this one fateful night of their lives. Though the final twist may be just a bit too coincidental and conventional as well, we believe it and there’s no denying it’s tension-filled and compelling right to the end.
Besides Dion Beebe as one of the D.P’s, there’s another Australian connection here with the screenplay credited to Stuart Beattie who is continuing to work on big-budget projects including co-writing duties with Baz Luhrmann on the upcoming epic Australia.
Collateral is a winner, gripping at every turn and only tightening its hold as the brilliant finale plays out. It’s one of Michael Mann’s finest works and one I’m sure will stand the test of time, maybe not quite in the elevated class of Heat, but I think it’s almost as good.
The train station finale is tension-filled
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Comment by JohnDoe
Film & TV on DVD
I agree Heat is his masterpiece. The Insider is tremendous (and teh onbly Russel Crowe film I like) but I think Thief takes second place for me in the Mann cannon. Manhunter is number 3 (Ali is the worst of his work IMO)
On to Collateral, great script, tremendous cinematography and a score that elevates scenes. For me though Tom Cruise as a hitman only worked on a comedic level and took all the air out of the suspense. Each time hsi deadly serious stare came onscreen I couldn't help but laugh out loud, so out of his element and it shows, trying way to hard there is nothing natural in his performance.
He carries NO menace and worse still over sells every line with a hard men schtick more fitting for Days of our Lives.
A real shame because this could have been a gem, instead it is just another case of miscasting in order to obtain a budget. Hair dye alone is not enough to sell the character but at least he didn't opt for a The Last Samurai do, possibly the worst do in film history.
Comment by David O'Connell
Screen Fanatic
Comment by JohnDoe
Film & TV on DVD
I did a review of Thief a while back, you can read it HERE