Collateral
Monday, August 9; Regal Falmouth #1
* * * ¾ (out of 4)
Collateral is a step in the right direction by nearly everyone involved. It establishes Jamie Foxx as more than the stereotype he played on his TV roles, giving him the momentum to propel a film career (he’ll follow up perfectly with Ray, I imagine). Tom Cruise needs no introduction, but Collateral gives him a role he’s never really played before – a villain. Director Michael Mann has, to this point, made the film that he will be remembered for. Everything goes right here.
Max (Foxx) takes great pride in the service he provides. It’s unfortunate that he has been stuck driving a cab for twelve years. On this particular L.A. night, he picks up a man who makes him an offer he can’t really refuse: one night, Vincent (Cruise) must make five stops before getting back to the airport. If Max drives him, he makes seven hundred dollars, nearly twice his normal nightly take. All seems fine, until Max figures out what these stops are – hits on Vincent’s list, he being a contract killer. Despite his every attempt to get out of his fare, it’s apparent that not only does Max not have a choice in the matter, but after the first hit his only chance at making it out of the night unscathed is to stay with Vincent, even as the LAPD and the FBI begin to breathe down their necks.
Amazing performances from everyone involved. Amazing. From the trailer, I was convinced Tom Cruise hadn’t been this good since Minority Report, but now I will change that to he has NEVER been this good. Vincent has all the charm and charisma that has made Cruise the bankable movie star he is for all those years, but there’s something so much more dangerous about him. There’s stability, a level headedness with which Vincent kills people that makes him both admirable and frightening at the same time. Cruise nailed it.
Foxx is just as good. His Max is a dreamer living in a fantasy world, and he will not admit to himself when he is defeated. His idealisms are so scrambled that he is willing to believe much of what Cruise says. The character is driven much farther than anyone really ought to be capable of that when he snaps it’s unexpected, because it’s something that anyone else would have done much sooner. His breaking point is also completely satisfying, even if the result isn’t what you might want.
The conversation between the two men is astounding. Vincent is so focused on his work as a business that there is no emotional attachment at all. After killing someone right in front of Max, they get back in the cab, and Vincent initiates a conversation as though nothing was wrong. His tone of voice is so assuring and calm that Max begins to emulate the mood. Frightening that one person could have this much charisma.
There are multiple climax points through the movie, and each is perfectly built. I have no real complaints about this movie, except for one or two unexplained points, but they don’t really detract from the high-caliber performances from both stars. Amazing work; don’t miss this one.
Monday, August 9; Regal Falmouth #1
* * * ¾ (out of 4)
Collateral is a step in the right direction by nearly everyone involved. It establishes Jamie Foxx as more than the stereotype he played on his TV roles, giving him the momentum to propel a film career (he’ll follow up perfectly with Ray, I imagine). Tom Cruise needs no introduction, but Collateral gives him a role he’s never really played before – a villain. Director Michael Mann has, to this point, made the film that he will be remembered for. Everything goes right here.
Max (Foxx) takes great pride in the service he provides. It’s unfortunate that he has been stuck driving a cab for twelve years. On this particular L.A. night, he picks up a man who makes him an offer he can’t really refuse: one night, Vincent (Cruise) must make five stops before getting back to the airport. If Max drives him, he makes seven hundred dollars, nearly twice his normal nightly take. All seems fine, until Max figures out what these stops are – hits on Vincent’s list, he being a contract killer. Despite his every attempt to get out of his fare, it’s apparent that not only does Max not have a choice in the matter, but after the first hit his only chance at making it out of the night unscathed is to stay with Vincent, even as the LAPD and the FBI begin to breathe down their necks.
Amazing performances from everyone involved. Amazing. From the trailer, I was convinced Tom Cruise hadn’t been this good since Minority Report, but now I will change that to he has NEVER been this good. Vincent has all the charm and charisma that has made Cruise the bankable movie star he is for all those years, but there’s something so much more dangerous about him. There’s stability, a level headedness with which Vincent kills people that makes him both admirable and frightening at the same time. Cruise nailed it.
Foxx is just as good. His Max is a dreamer living in a fantasy world, and he will not admit to himself when he is defeated. His idealisms are so scrambled that he is willing to believe much of what Cruise says. The character is driven much farther than anyone really ought to be capable of that when he snaps it’s unexpected, because it’s something that anyone else would have done much sooner. His breaking point is also completely satisfying, even if the result isn’t what you might want.
The conversation between the two men is astounding. Vincent is so focused on his work as a business that there is no emotional attachment at all. After killing someone right in front of Max, they get back in the cab, and Vincent initiates a conversation as though nothing was wrong. His tone of voice is so assuring and calm that Max begins to emulate the mood. Frightening that one person could have this much charisma.
There are multiple climax points through the movie, and each is perfectly built. I have no real complaints about this movie, except for one or two unexplained points, but they don’t really detract from the high-caliber performances from both stars. Amazing work; don’t miss this one.
posted by Matt S. at
8:08 PM
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