Two Terrific Performances in an Enthralling Thriller

Rating: 8/10 (30 May 2011)

There is a terrific scene in Michael Mann's 'Collateral' where Tom Cruise's Vincent and a coyote stare at one another under the glow of a deserted Los Angeles street. The profoundness of the scene is in many ways an example of how Mann manages to raise his crime thrillers above the standard fare of his peers. For 'Collateral' like one of Mann's earlier pictures 'Heat' is not simply a great action film but also a subtle and intricate character study of two opposing individuals who nevertheless share a mutual understanding. In 'Collateral' however this relationship is not as playful as the Pacino/De Niro one that dominates the plot of 'Heat' as Tom Cruise takes Jamie Foxx's cab driver Max hostage over the course of a single night. It is a tough job attempting to surpass 'Heat' but Mann manages it by simply focusing on two lead characters whose actors put in affecting and human performances. Whereas 'Heat' perhaps suffered from too many digressions by examining in detail the lives of its secondary characters, 'Collateral' stays with Vincent and Max throughout its duration only sometimes switching to Mark Ruffalo's Detective Fanning. In what is essentially a tale of two lonely individuals, 'Collateral' sees Fate land a hit-man, Vincent, into the cab of Max, a man whose optimism about the future is going to be put to the test. From this first meeting spirals a catalogue of mind games, contract killings and insightful conversations as the put upon Max tries to escape the clutches of the ruthless Vincent. Foxx delivers a performance full of empathy as the cab driver who has to come to terms with being a hostage in his own taxi and then deal with the small matter of staying alive. He portrays a man whose meek personality is galvanised into a raging catharsis after continual denigration by Vincent. Cruise likewise excels in a performance that portrays a very human assassin. Not emotionally vacant, Vincent clearly delights in his profession challenging one of his victims to gamble his life on a question related to the man's passion. This hit-man is not someone manufactured by some shady government organisation but one that has flaws like any human. In one scene Vincent delights in humiliating Max in front of his mother leading to Max throwing his briefcase over a bridge. The relationship between Max and Vincent is a key aspect of 'Collateral' which is epitomised in the coyote scene, mentioned at the beginning of the review. As Max slows down the cab to avoid hitting the animal, it and Vincent stare at one other, into each others' souls. No words are spoken; only a meditative silence during and after the moment. What follows is a powerful moment of self-reflection on Vincent's part where he assesses his life and how it resembles the coyote's: a life as a predator, not living a normal life but continually wandering. As Max moves the car onwards Vincent stares blankly ahead of him, both men separated from one another physically and metaphorically by the glass behind the driver's seat. It is such scenes of resonance that give 'Collateral' its emotional core; however the film also boasts several impressive set pieces including the shootout at a Korean nightclub where one of Vincent's targets are located. The scene itself is brilliantly choreographed with the police, FBI, mobsters, Vincent and Max involved in a frenetic showdown that perfectly illustrates Mann's versatility in shooting action sequences. Cruise also displays his physical suitability for the role as a lethal Vincent takes out everyone in his path on the way to completing his mission. It is one of the standout scenes of a film that already boasts two terrific lead performances, a great soundtrack and direction by Mann that displays the beauty of the city. As the train at the end of the film departs into the distance with dawn approaching it is hard to believe that the events have taken place over a single night.