Collateral

Great, but too many logical holes in the script separate this film from a five-star rating (Jamie's missed chances to escape, the conversation in the bar about Miles Davis when Foxx listens with interest and pretends like he's not having one of the worst days of his life, the incomprehensible absence of the police at the prosecutor's office...). On the other hand, Mann's confident direction manages to skillfully combine psychological and action elements, the digital camera is a win, and the "face" of the whole film (Los Angeles full of lights, the play of colours) is very impressive and with a good screening the viewer will appreciate it, don't believe the talk about camera noise. Cruise's cool tough guy is believable, yet a little overacting in places and again, he sometimes indulges in his classic grimaces. The star of the film for me is the excellent Jamie Foxx, who impressed me years ago in Stone's Any Given Sunday and I think we will hear a lot about him in the future. (12/30/2004)

I'm not exactly a Tom Cruise fan, to put it mildly, but I have to admit he was great in this film and absolutely convincing as Vincent. The theme was basically simple, but the creators made a very decent thriller out of it, which worked for me even after years. I had as much fun as I had back then. I would even increase the rating, if only the creators hadn’t gotten into a fight with logic and had come up with a plausible conclusion. Despite a few quibbles, I was satisfied. (10/24/2020)

Michael Mann and his next film similar to Miami Vice, only this time faster and more nimble. It's more or less the story of a serial killer witnessing a case that forces a taxi driver to cooperate, so he goes around town murdering people, which in itself isn't an original idea, but thankfully Jamie Foxx and Tom Cruise steal the spotlight for themselves, their chemistry is solid and they're nice to watch. Mark Ruffalo as the detective seconds that, and half the time it's a win-win. The action, story and ending are average, the pacing is decent, and it's actually a digestible one-off that probably won't offend anyone, but judging by the directorial qualities and the reviews I was probably expecting a little more. The shift of the times is evident and back in 2004 there wasn't that much choice of films in the genre, but nowadays it doesn't hold a candle to today's competitors. (08/11/2021)

An almost perfect thriller that combines the lightness and complexity of independent American cinema with the flawless visual pomp of Hollywood movies. Michael Mann has found an absolutely perfect tone of narration, which is closely connected to a great soundtrack – here he pensively analyzes the insides of the characters, there he dynamically develops action sequences. For a while it’s a clip and for a while a very sensitive and distinctive study of two completely different characters. It is the Cruise-Foxx duo that is the flawless engine of this spectacle - a cynical and Machiavellian killer versus the idealist and the average dreamer. Their mutual chemistry holds the film together even when the spark of the story seems to fade for a while, and their relationship skillfully balances on the black edge of comedy and personal drama. After a more or less calm (perhaps a little too calm) start and a well-paced middle, there comes a dazzling final gradation, which is disrupted only by an overly ostentatious signaled twist. Unfortunately, it can be sensed in the first minutes, but it does not slow down the catharsis of Collateral. The brilliant work of the camera and brilliantly written dialogues and imaginary characters keep this spectacle at an incredible balance, where the delicate psychological game is precisely balanced by adrenaline. Michael Mann has produced a daring work - a captivating thriller with irresistible cynicism, great characters, an overlap to the dehumanized reality of today and the unmistakable atmosphere of a sleeping and non-participating megalopolis. Hats off! (03/29/2006)

The grainy digital camerawork seems inappropriate in a film of such proportions. Authenticity can be achieved in other ways, and this just does not look good on a multiplex screen. Otherwise, however, Michael Mann is still the same skilful filmmaker we can rely on. He is in control of the actors, the suspense, the dynamics, the atmosphere, the build-up of ideas…in short, everything. Jamie Foxx is good and Tom Cruise doesn’t disappoint, though it’s hard to get used to seeing him in a bad-guy role. (10/20/2004)