In the HBO show "Taxicab Confessions," hidden cameras mounted in various NYC cabs capture people at their most uninhibited. Couples fight or fool around, various fares are under the influence of any number of mind-altering substances and most anything goes and/or will occur.
I'm not a regular viewer and thus haven't seen every person who's taken such a ride, but I'd guess (for anonymity and/or legal reasons) that none of the fares has been a contract killer with five hits to make in one night.
But that's exactly what occurs in "Collateral." That description might make the latest effort from director Michael Mann sound like a backseat therapy session - and at times it somewhat is - but it's much more than just that.
A high voltage, dramatic thriller, it's a captivating, engaging, occasionally funny and quite entertaining ride. That is, as long as you don't mind the obviously adult subject matter and related content. Like most of Mann's other works, the film - penned by Stuart Beattie ("Kick," "Joey") - features intense men intensely pursuing a single-minded goal.
That's not particularly novel, of course, since many pictures contain the same sort of characters and setup. Here, the killer wants to complete his job, the hijacked driver desires to stay alive and figure out how to get away and/or save the day, and a cop wants to catch the bad guy and prove that the cabby's innocent.
If there's one notable fault to the film - and there are actually several of varying degrees that I'll address shortly - it's that the basic underlying story isn't anything particularly strong or remarkable. There are also various holes in the plot and/or logic - such as why a hitman would use the same cabbie through the night and thus increase his chance of getting caught, etc. - that need to be accepted or overlooked to enjoy the ride.
A few simple story tweaks easily could have patched those faults. Thankfully, they're not debilitating in nature, as the film's beauty and strength reside in its many smaller but powerful moments. There's just something about the way Mann ("Ali," "The Insider") composes his scenes and shots - courtesy of fabulous camerawork by cinematographer Paul Cameron ("Man on Fire," "Swordfish") - that make the film electrifying. The cumulative effect of all of those individual moments is nothing short of a mesmerizing, wild ride.
Of course, it doesn't hurt that Mann has elicited what's arguably the best work from his leads. Playing the villain for what's essentially just the second time in his career (Lestat in "Interview with the Vampire" being the first), Tom Cruise ("The Last Samurai," "Minority Report") has found the role perfectly suited for his acting style.
While I've usually liked some parts if not all of his previous performances, at times it seems he's going to explode from trying so hard to act and bring a palpable intensity to his characters. Such ferocity is a natural fit here and the role is purposefully slick and superficial, elements Cruise can do in his sleep. Yet, the character is also intelligent and features a dry wit, all of which makes him positively magnetic.
Actors often say that they long to play the villain because they're usually drawn better than the heroes are and it's simply fun. Cruise seems to be having just that playing the part that seems tailor made for him and which he absolutely nails.
The surprise, however, is with Jamie Foxx playing the cabbie whose entrepreneurial dreams are placed in the backseat alongside the hitman who hires him for the night. I've always viewed Foxx as okay talent but nothing more, and worried that he might come off as he did in the likes of "Bait" or "Booty Call." Regardless of whether Mann whipped him into shape or he's simply grown up and matured as an actor, he delivers a knockout performance that's the best of his career.
The supporting law enforcement characters played by Mark Ruffalo ("13 Going on 30," "You Can Count on Me"), Peter Berg ("Corky Romano," "The Great White Hype") and Bruce McGill ("Runaway Jury," "The Sum of all Fears"), however, feel shortchanged, which is a bit of a problem since they're designed to be catalytic to some degree.
While I realize that it's the Cruise/Fox show, I was hoping for some of those cop/bad guy sparks that fueled "Heat." Jada Pinkett Smith ("Ali," the "Matrix" films) plays a small part as Max's first fare of the night, but one can't initially be sure if she's integral to the plot or is just a possible decoy like Jason Statham ("The Transporter," "The Italian Job") who briefly appears at the beginning.
My biggest complaint regards the ending. Although it's obviously effective and more than competently handled, it feels too "Hollywoodish" compared to the rest of the picture, as if Mann suddenly sold out or caved in to studio pressure to go conventional. It doesn't ruin the effort, but it does taint it a bit.
Otherwise, however, the film is a blast to watch thanks to a terrific visual look, more than capable direction and solid performances from the two leads. If anything, "Collateral" will be just that for Cruise's desire to play the villain again as well as landing Foxx some higher profile, leading roles. The film rates as a 7 out of 10.
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