On a midnight screening in August, 2004, my entire filmmaking aspirations changed with this film. While I had seen Thief previously, Collateral struck a brilliant, fascinating chord in my creative mind. While I consider The Insider to be Michael Mann’s best film to date, and Manhunter to be my favorite, there is a special unique quality to this movie that I love. I believe it stems from the atmosphere of isolation and nature of introspection that Mann delves into. Above all else, Tom Cruise puts in one of the best performances of his career under Mann’s direction.
Max (Jamie Foxx) has lived the mundane life of a cab driver for 12 years. The faces have come and gone from his rearview mirror, people and places he’s long since forgotten – until tonight. Vincent (Tom Cruise) is a contract killer. When an offshore narco-trafficking cartel learns they are about to be indicted by a federal grand jury, they mount an operation to identify and kill the key witnesses, and the last stage is tonight. Tonight, Vincent arrives in L.A., and five bodies are supposed to fall. Circumstances cause Vincent to hijack Max’s taxicab, and Max becomes collateral – an expendable person in the wrong place at the wrong time. Through the night, Vincent forces Max to drive him to each destination. And as the LAPD and FBI race to intercept them, Max and Vincent’s survival becomes dependant on each other in ways neither would have imagined.
I love how the movie is soaked into this dark, isolated feeling of the night. While the film has those first few minutes of transition from the late afternoon into nightfall, it feels right. We are getting an easy, gradual introduction to Max along with a very brief and enigmatic one to Vincent. At this point, the film is relaxed and getting you comfortable, but once night sets in, the mood begins to soak in. Los Angeles descends into this sparse, disconnected landscape. There’s a sense of vast emptiness which isolates our characters into a somber atmosphere. There maybe pedestrians in the background, traffic on the roads, but Max and Vincent are in their own reclusive scenario apart from the awareness of anyone around them. Michael Mann achieves that deeply penetrating mood throughout the movie with a brilliant use of cinematography, music, and environments. The nighttime world of Los Angeles is alive with danger and lethal threats on an ever-accelerating ride into darkness.
In the beginning of the film, there’s some lovely, heartfelt chemistry between Jamie Foxx and Jada Pinkett-Smith in a cab ride together. It’s a beautiful, warm introduction to both characters who we need to greatly empathize with as the film progresses. This is especially true for Pinkett-Smith’s character of Annie, a prosecutor for the U.S. Attorney, who doesn’t return to the film until the final act, but she makes such a wonderful, adoring impression that we haven’t forgotten a thing about her by then. Both actors make a rich use of those few minutes of screentime together, and Michael Mann really strikes a different chord than he has before. In his other films, it’s usually two people that have already had some history together, or are already married with some kind of emotional or ideological strain upon them. We hardly see the initial spark of a romantic relationship, and never has it been this sweet and charming. Jada Pinkett-Smith does a spectacular job in this role throughout all the light-hearted, heart-warming, and emotionally and physically intense demands upon her.
Jamie Foxx surely deserved the supporting actor Oscar nomination he got here. He absorbs himself fully into Max, grasping the details of the character with a lot of care. Max is surely a flawed person, but that’s what makes him relatable and real. Max is an entirely unlikely hero. He’s just a cab driver opposing a trained professional killer, but it’s that intensely real fear and genuine humanity of Max that makes him work. He’s not designed to battle Vincent on a physical level. Instead, it’s slowly getting into Vincent’s head, unraveling who he is and how he works that allows Max to gain some measure of courage to fight back against him. However, it’s that journey from the guy who can’t even muster up the courage to ask Annie for her phone number, let alone out on a date, to someone that does take a stand against this cold, vicious killing machine which makes Foxx’s performance amazing. It’s Max’s experience with Vincent, especially when he’s forced to impersonate Vincent in a meeting with cartel lord Felix, that begins to bring out that self-confidence. Vincent repeatedly criticizes Max for taking abuse from his boss, allowing his mother to believe in false truths about his line of work, and being a general pushover that inadvertently mold and motivate Max into being an adversary instead of a frightened hostage. Your attention might gravitate to the stronger personality of Vincent as the standout, but Jamie Foxx delivers a very textured, emotionally realistic, and genuine performance that does have a lot of substance and standout qualities about it.
Tom Cruise starts out as his usual charming self as Vincent, who warms himself up to Max so to convince him to hang with him through the night, feeding him a story of being a real estate agent. It’s then a beautiful turn when that cold, calculating sociopath emerges. That intimidating edge shows through immediately, and I love that you can see the gears turning in Vincent’s head. He checks his surroundings, seeing who might’ve witnessed the dead body crashing onto Max’s cab, and determines his next move. This is the detail Michael Mann instills in his actors in order to portray these characters as realistic, intelligent people with a specific way of thinking and reacting with a depth of history that stretches beyond the context of this story. Vincent is a fascinating character with a complexity and depth that is the brilliant result of Mann and Cruise’s collaboration mixed with Stuart Beattie’s excellent screenplay. He is a stone cold sociopath that has a justification for everything he does, and he regularly tries to impart that onto Max. Perceiving a few dead bodies as insignificant on a cosmic scale makes it no wonder that he is so disassociated from any semblance of humanity. Most of us rarely think of the repercussions of our actions on even a global scale, and the closer, more immediate the consequences are, the greater they have impact on our choices. Vincent is likely the epitome of Neil McCauley’s “thirty seconds flat” rule from Heat of abandoning everything at a moment’s notice in order to stay ahead of the law. McCauley dictated that in order to do so, you must not have attachments to anyone or anything, or risk being caught. However, Vincent is even more than that as there’s clearly a far deeper, more emotionally fractured explanation for being as he is, and it is not just from a matter of staying out of a prison cell. Tom Cruise conveys that complexity with masterful skill and a dash of natural charisma that makes him compelling. There is so much depth and nuance to what Tom Cruise delivers in this performance of a sociopathic hitman that finds himself slowing cracking throughout this night that I couldn’t possibly detail all of it without making this into an entire essay about him. If you want that, I immensely suggest listening to Michael Mann’s commentary on the film. It provides more detailed insight than I can do justice to here. In short, Tom Cruise is riveting and brilliant as Vincent, and delivers a relentless performance unlike any you’ve seen from him. He’s an entirely different, fully absorbed animal in this film, and Vincent is a testament to Mann’s extensive work of building a character from the ground up, from the inside out with a massively talented actor.
The scene that sells the lethal threat of Vincent is the incident with the gangbangers who steal his briefcase. The razor sharp reflexes he demonstrates in taking both of them down is near unreal, and shows that this is a man of hard earned, professional skills that should not be tested. If he wants you dead, you’ll be a corpse before you know it. As I’ve mentioned in past reviews, Tom Cruise is an amazingly dedicated physical actor. He will put himself through whatever rigorous training is necessary to make his performance everything it needs to be on every level. These skills are not learned easily or quickly. Cruise had handled firearms before in the Mission: Impossible films, but this was a whole different level of discipline and dedication. And indeed, it shows through in how he carries himself, how he cases his surroundings, and operates like an efficient machine in every action sequence. He creates a full, total package that gravitates energy around him.
Furthermore, I really like Mark Ruffalo as Detective Fanning. His look is excellent as a narcotics cop who looks like a dealer, but seeing him in the thick of things, you can see this is an LAPD Detective that is intelligent, instinctive, and seasoned. He’s a consummate professional, but is also very streetwise and perceptive. Ruffalo strikes that perfect balance which makes both work cohesively. Fanning follows through on his instincts and intellect despite anyone’s insistence to the contrary, making him a capable secondary protagonist an audience can get behind. He’s hotly on the trail of what’s going on as more and more bodies go down, and that motivates the law enforcement end of the story forward as they try to secure what witnesses they have left before Vincent can eliminate them.
Collateral is filled with solid supporting actors like Peter Berg’s combative Detective Weidner or Bruce McGill’s hard edged FBI Agent Pedrosa. However, the two best standouts are Barry Shabaka Henley and Javier Bardem. Henley portrays Daniel, the owner of a jazz club, and he gives us two brilliant showings in his scene. The first is Daniel’s passion for jazz music as he relates a story about meeting Miles Davis, and the stunning impression it made in his life. Then, when the scene turns imminently lethal, we see the purely human fear and subtle tremble that courses through his body. It’s an inspired performance, and Daniel is someone that has a noticeable resonance upon Vincent. This is the first moment where we see his sociopathic exterior cracking, and it is a gorgeous moment of dramatic and emotional storytelling.
Javier Bardem is just excellent as the cartel lord Felix. He’s strongly intimidating and intelligent, but one of conservative emotion. You can see the fire underneath when he learns that Vincent has lost his hitlist, but he’s a confident man that knows how to deal with problems decisively but has a short tolerance for failure. Bardem has only one scene, but he makes a strong, intriguing impression that resonates for a quite a while after his screentime has ended. It’s stellar work by him all around.
I think Collateral is possibly the Michael Mann film that most deeply peers into its lead characters. While Manhunter gets very deep into their psychology, Collateral is focused more on the emotional level. It shows what makes Vincent and Max who they are from the heart and soul outwards. These two starkly different men are inexplicably connected on this violent, dangerous ride, and they each peer deeper into one another’s souls. Collateral simply broods with this fascinating level of deep, introspective drama making itself just as much about the complex nature of its characters as it is about its adrenalin pumping danger and occasional action.
One of the things that attracted Michael Mann to this project was the idea of a compressed timeline. All events take place over a single night which creates an inherent energy and urgency to the story and the actions of the characters. Everything’s going down now, and there’s no tomorrow to deal with it. There’s also the great feeling like we’re in the third act of another story, that of Felix’s impending indictment. All of these events have already taken place to move these people into these exact situations on this night, and we’re dropped into a story where everything is already in motion. Everything’s moving forward at a brisk pace, and there’s no slowing down now. The whole movie has this feeling of an impending deadline. The feeling that we’ve long passed the point of no return well before this movie began, and it’s all full speed ahead from here. It’s not a film of break neck pace, but Mann is able to maintain that sense of urgency very cleverly through the actions and behavior of these characters. The pacing itself is great, tight, and dead-on. There’s such a great punctuation of drama and emotion using everything Mann has at his disposal at exactly the right doses at exactly the right times. It’s an amazingly well edited movie.
Collateral features an awesome collection of score and music from eclectic artists. The primary score is provided by James Newton Howard who creates the most emotional and stirring cues of the film. It has the most presence and creates the grim sense of isolation and somber reality. Howard is also responsible for the long form, tense, suspenseful, and ultimately, driving percussion score in the film’s action climax. Antonio Pinto also has some excellent pieces of score that really penetrate the soul of select moments. The addition of Audioslave to the soundtrack was a stroke of genius as “Shadow On The Sun” perfectly fits the vibe and tone of this movie. It’s only one track, but it is used in a very memorable sequence. Appropriately, we get some jazz in there, and a few other contemporary music tracks that oddly don’t feel dated in the least. It’s been nearly nine years since the film’s release, and it still feels fresh, original, and excitingly new to me. I own this soundtrack, and it is still a wonderful, moody listen to this day.
The vast majority of Collateral was shot on high definition digital video, and for this movie, it works beautifully and brilliantly. Mann knew he couldn’t get that depth of clarity to see into the nighttime landscape of L.A. if he shot on film. So, he embraced this new technology to create a signature look for Collateral. What makes it work for this movie where it didn’t as much for Miami Vice or especially Public Enemies is how well it is shot. I believe the cinematography work of Paul Cameron and Dion Beebe should have been given far more recognition at the time than it did. It got some nominations and wins from a few organizations, but it may have been the unique digital video look of the movie that might have deterred some. I embraced this look, and it inspired me to no end. It still does. Collateral is a brilliantly shot movie with an amazing use of color temperatures that evoke certain moods throughout. It’s much different than Manhunter in that its feels very urban and grounded with the sodium vapor and mercury vapor street lights creating diffused orange, green, and turquoise tones. It just makes the night come alive in a new way that had never been achieved with such vibrant, dramatic results before. It’s also remarkable how so much of the film takes place in that cab, and each scene gives us a new camera angle or composition that suits the context of that scene. It never gets repetitive or dull. These filmmakers had to get inventive, and they ultimately achieved something with get artistic value. There is plenty of handheld work, but it’s done immensely well. Public Enemies was a blatant example of doing it terribly, and Miami Vice simply employed it too much to where it almost became a crutch. The cinematography of Collateral is very similar to that in The Insider, but progressed further and given more vibrancy than before. And those overhead aerial shots of Los Angeles are simply striking and inspired. I’ve since seen this replicated in many other films and television shows, and I immediately make the connection back to Collateral when I do.
We have very few action scenes here, but the large doses we get are riveting and awesome. The biggest is the Korean night club sequence where Max, Vincent, the FBI, and more converge in a violent exchange of physicality and gunfire. It’s an excellently done sequence with sharp editing and a pulsating remix of Paul Oakenfold’s “Ready Steady Go.” Vincent weaves his way through the sea of club-goers, dispatching of bodyguards with merciless efficiency, but it ultimately all breaks down into chaos. Yet, it is this turning point in the film where all the law enforcement and other elements surrounding Max and Vincent are stripped away, and we’re left with a lean, intense final act. As Vincent hunts his final target through a dark office of reflective surfaces, we are treated to some taut suspense and edge-of-your-seat tension. This is another instance where only digital video could’ve been used. On film, this would’ve been an unintelligible blob of nothing, but the high definition video gives the low light detail that feels so atmospheric and visually amazing. The climax is just excellently done on so many levels, and ends with poignant drama. I know there was a time early on that I felt the ending left a little to be desired, but I’ve since gained the understanding of it all with full respect and appreciation. This is a very introspective film that documents Vincent’s somber emotional deterioration over this one night, and it ends with a weight of purpose and ironic reflection. The climax might be very adrenalin pumping, ramping up the imminent, lethal danger of Max and Annie, but the final moments resolve the character depth and emotional resonance we’ve seen build up throughout this film. It is a brilliant work of screenwriting by Stuart Beattie forged and meticulously crafted by the masterful talent of Michael Mann.
This is an amazing film that has a different substance of depth than Mann had given us before, and wraps that up in a very riveting, tense crime thriller. Cruise and Foxx have excellent chemistry together that even sparks one or two humorous beats. It’s just a great, happy surprise sparked from two great talents that have that charismatic spark of brilliance. Overall, it’s a film that still inspires and drives me to this day to be a creative filmmaker in the dark crime genre where characters like Vincent are immensely fascinating, complex, and violent individuals. I reference Michael Mann’s work often enough in my reviews of crime thrillers that I definitely want to actually get more reviews of his films done. I’ve already done Miami Vice and Manhunter, but those were a good year apart. Collateral should be the start of me covering more of his filmography in a shorter span of time with Thief, Heat, and The Insider surely on my slate for this year. Reviews like this are more than just telling you if the movie is good or bad, but instead, they are delving into the depth of it all to really discover what truly makes it great and why it has enthralled me so much. However, look for some potentially shorter reviews soon for a few soon-to-be-released movies that I hope will be quite good, but we’ll see.
This film was not what I had hoped it to be. At the time of release, I couldn’t have been more disappointed. However, over time, I have gained some appreciation for it, at least, for what it had the potential to be. I had not watched the television series during the 1980s. I grew up on cartoons, sitcoms, the WWF, and Knight Rider. However, I blind bought the first season of Miami Vice on DVD in 2005, and was immediately hooked. It seemed like good timing with news of the feature film hitting at that time, and the trailer coming a few months later.
What I love about the television show was its way of using popular music as a dramatic storytelling device, and the strong chemistry amongst the cast. The five seasons of Miami Vice redefined what could be achieved on television. Its use of cinematic visuals, gritty crime themes, and action packed, violent stories changed the medium forever. It was slick, colorful, exciting, dramatic, and compelling. Unfortunately, this 2006 feature film lacks all of that.
In this new Miami Vice, roles of James “Sonny” Crockett and Ricardo Tubbs are portrayed by Colin Farrell and Jamie Foxx, replacing Don Johnson and Philip Michael Thomas from the original series. Crockett & Tubbs get pulled away from a local undercover operation to deal with the deterioration of a interagency task force. As Tubbs says, “Your ‘op sec’ (operational security) is blown.” How it links to them is by way of an old informant who got in over his head, and now, pays a dire price. So, to bring down this Colombian crime kingpin, Jesus Montoya, Crockett & Tubbs go deep undercover where they have no back-up, and Crockett gets in close with Isabella (Gong Li), Montoya’s woman.
The real problem of this film is that it lacks chemistry and momentum. The plot moves along very straight forward allowing for no unexpected twists or turns to create exciting plot developments. The first 15-20 minutes of the film (theatrical cut) are wrought with potential for a very exciting, fast-paced feature. Things develop quickly creating urgency for everyone to act quickly, and for a dangerous premise to be setup with agents being gunned down. Action ensues, things blow up while maintaining a hard edged, realistic Michael Mann style. However, it soon slows to a dull pace. The plot moves from one thing to another just establishing elements and relationships and characters, but none of it really means anything. Nothing develops beyond the surface. It’s procedural to a fault. It’s more like watching a documentary of undercover vice cops than an engaging narrative with relatable characters.
In the television series, the clashing personalities of the slick, smooth New Yorker of Ricardo Tubbs and the weathered, cynical Miami Vice cop of Sonny Crockett created a classic chemistry. They didn’t always mesh well, but the chemistry Johnson & Thomas struck was what made the show work. They connected on an emotional level. You saw how these two went from reluctant partners to trusted brothers in arms. You felt it between them, and they played it well. Here, the script keeps the characters in an ‘all business’ mode for so long that you don’t get a moment where it’s just Crockett & Tubbs being themselves. There are little touches that are reflective of the original characters as I know them such as Crockett charming a female bartender at the start, or Tubbs offering his compassionate condolences to interagency commander Fujima, “Sorry about your men.” Regardless of that, you don’t get to know the men personally. It’s all on the surface because that’s what the script demands of them. There is only one such personal scene, but it comes so extremely late in the film, it does nothing to enhance the characters for the audience’s benefit. Also, Lieutenant Martin Castillo, who was one of the most fascinating and textured characters of the original series, portrayed amazingly well by the always fantastic Edward James Olmos, is now just another random character. Simply said, if you changed the names of all these characters, and slapped a different title on the film, you’d never know it was supposed to be Miami Vice.
The attempted romance between Sonny and Isabella just fell flat for me. Part of it is that Gong Li doesn’t speak English very well, and so, she has to spend more time just trying to pronounce the words instead of putting character and emotion behind them. You can see this relationship is having a conflicted effect on Sonny since he’s playing the undercover role of Sonny Burnett, a criminal and smuggler, and has to be close to her without actually being Sonny Crockett. He loves this woman, but as I said, the chemistry isn’t there. I felt no spark between them. No heat. Like so many things in this movie, it just doesn’t click.
The music is also dark and brooding. Aside from a few dance club scenes, the music is not lively. The music itself is not bad at all, I own the soundtrack, but it just further drags down the emotional weight of the film. I know the pop music of today is not like that of the 1980s, but this 2006 movie seems to make every effort to be in stark contrast to everything that defined the name Miami Vice. Thus, why I was so disappointed at the time of release. Michael Mann approached this film with the intention of realism. Make everything feel real, and do nothing that is not comparable to the true operations and people of this world. However, making it too realistic drains out the entertainment value, and the depth to the story being told. Because of this, as I said, the movie comes off more like a documentary.
On a positive note, the cinematography is mostly gorgeous. The shots over the open water as Sonny & Isabella speedboat to Havana are wondrous and sprawling. I live near Chicago, and so, the only large body of water I can enjoy is Lake Michigan. Still, staring out into that endless horizon, to the edge of the world is so perfectly tranquil, and that sense is captured here, exponentially. The film has a large amount of handheld work. A lot of it is handled well, but it can get to be too much. However, it’s nowhere near as bad as Mann’s next film Public Enemies. That was the perfect example of a badly shot movie. Collateral was amazing in every aspect to me, and I embraced the HD digital video look of it. It was shot fantastically. Miami Vice is the downward step between Collateral and Public Enemies in many ways, not just in camera work.
Characters in Michael Mann films went from deep, textured, and complex people to far more stoic people who Mann does not allow to show their depth. While Manhunter is my favorite Mann film, it is The Insider that I feel remains his best film to date. That was the clear definition of character depth, and a well written dramatic film. And Mann did it all without a single action sequence or gunshot. People conflicting with other people on an emotional, psychological, and ideological level. While based on true events, it shows that Mann can bring those qualities out in his films. Where it has gone in the last few years is beyond me.
Miami Vice was marketed as a slick, dangerous, edgy, sexy, and exciting summer action film. That is not the film Michael Mann made, and the film I got was not the one I expected to see on an August midnight showing in 2006. However, after listening to his director’s commentary, and allowing the passage of time, I at least have appreciation for the film it could have been. I understand what Mann was going for, and I love the ideas behind it. I just don’t feel it all successfully came together in this movie. The worst part of the film was the ending. As the movie progressed, I felt there hadn’t yet been a climax. There was a big shootout, but it felt like a precursor to the real climax. Nothing had yet been resolved on a plot development or emotional level. Jesus Montoya was still out there, at large, and I felt like the film would lead into Crockett & Tubbs going after him to shut him down. This was because the same thing happened in the episode “Calderone’s Return.” The villain from the pilot episode escaped, and now, Sonny & Rico had the chance to get him for good. They speedboat to the Bahamas for a final confrontation. None of that happened here. There’s a montage sequence, Crockett walks into the hospital, and the movie cuts to black. Roll credits. There was no resolution to any plot or character elements in the film. The bad guy gets away, he will rebuild his empire, and life goes on. All the Miami Vice squad achieved was killing a bunch of thugs with guns. Expendable, replaceable people in Montoya’s employ. You can pull that off on a television series because there’s always next week, sometimes next season to revisit the storyline, and tie it off at a later time (just like “Calderone’s Return”). In a feature film, you have only 90-120 minutes to establish, develop, and resolve a story. There was no satisfying resolution to Miami Vice 2006. Had there been, maybe I could forgive a lot of the negative marks by there being an exciting ending that actually resolved something that the audience decided to invest their time in.
The worst thing to do going into this movie is to anticipate anything resembling the 1980s television series. Going into it expecting a Michael Mann film might be more suitable, but that doesn’t mean you’ll be pleased. It’s been five years since this film was released, and while I have an appreciation for the ideas behind it, and enjoy much of the cinematography, I don’t view it as that good of a film. The lack of chemistry amongst the cast, momentum within the story, and the grim overall sense just doesn’t allow for much to invest in, unfortunately.