Mann's stunning exercise in subversive genre film-making.

Rating: 9/10 (7 August 2004)

I've never been a huge defender of Michael Mann's work: Miami Vice, Thief, Manhunter, Last of the Mohicans, Heat, Insider, Ali. While I found his direction and resume impressive nothing particularly floored me: the distinct attribute, feel, and atmosphere that compels you to watch a film. Heat, while overlong, had moments where these elements came together and that's why I consider it Mann's strongest work. When he does the crime genre HE does the crime genre. So, it wasn't too wild that I expected strong genre cinema from 'Collateral'. I mean it had the pedigree, the concept, and it was in the dimly lit, nocturnal, neo-noir genre -- Yeah, I love noir.
The high water premise involves a hit man, played deliciously against type by Tom Cruise, coming into L.A. for a late night job. The thing is he needs to take care of several marks in one single night and decides to conscript a cabbie, don't hate but Jamie Foxx is great, to drive him around on his hits. Now while this sounds like a ridiculous premise Mann, Foxx, Cruise, and their talented screenwriter Stuart Beattie concoct a series of thrilling events laden with a delicious streak of dark humor. The dark humor is a blessing since most of the film takes place inside the cab as Cruise's Vincent and Foxx's Max duke it out verbally. Vincent's vacant statements about life offer glimpses into his mind and Max's everyday affability makes his inability to grasp Vincent's actions more tangible. Let's just say they both snap, crackle, and pop keeping the audience glued to the screen.
There is also a string of great supporting performances aside from the two leads. The supporting cast including Jada Pinkett Smith, Mark Ruffalo, Irma P. Hall, Bruce McGill, Javier Bardem, and Peter Berg. Having the unusually strong supporting cast allows the film to get by with little characterization as these actors provide enough depth in the short screen times they inhabit. Some might complain about this set up, but honestly the films real drive is the love/hate relationship between Max and Vincent. It's what keeps the blood flowing because it evokes a vicarious notion of 'what would I do?'
Mann, where is the MAN!? Oh, don't worry he's here. Without his visual eye for breaking down scenes to minute details and strength at creating a deliberate pace this film would crumble under its premise. Mann using digital for the first time showcases that in the hands of a master its not what you use, but what you do. His lack of digital effects, explosions, and all that other new wave action bullshit is surprisingly refreshing. What Mann does is focus on his 80's vibe and creates a new sort of retro cool. A prime example of this is the club sequence. A simple, yet highly effective action scene scored via the locations diagetic music. The chaos with quick bursts of action provided by the energetic Cruise are as exciting as a hundred explosions if not more.
The whole film, which was shot at night, creates a twilight zone, existential, eerie vibe that helps it glide over some convenient plot points. The concept of cosmic connection, stars aligning, and fate meshes well with the atmosphere. Mann's visual flair particularly stands out in the scenes overlooking the city. The digital allows him to bring out the sharp lights creating an otherworldly vibe. The view is sublime and gives the city a life beyond Max and Vincent. They might be killing people, but in a city of six million people they're just specks.
Unlike typical summer fare 'Collateral' is a character driven drama under the guise of Hollywood genre thriller. It's Mann on overdrive (Rave scene, the building sequence) and my favorite flick off his impressive and eclectic resume. I don't typically look forward to his films, but after the super cool experience I had with 'Collateral' that has changed. The way all of the disparate moods connected at end left me feeling like I've been on a ride of my own. This is subversive genre making at its best. A round of applause for everyone involved in making one of the most cool and effective thrillers in ages. 'Collateral' is worthy of your collateral.