"Show me the motherfucking money, you fuck", was, i believe, the big "catchphrase".

Unlike Maguire, Collateral is a particularly downbeat picture. It's all very mournful, very solemn. When it chooses, though, it pumps the adrenaline like as if it were some hoody-cloaked malcontent wandering round one of those side-streets, opening their coat now and again to reveal a dozen sachets of the smackity cracks or whatever, and probably a couple bootleg Rolex's. The shoot-out in the nightclub is fantastic, a flurry of confusion and screaming and folks getting shot in the legs. Mann, y'see, takes the opposite route from action flicks that punctuate the screaming and the bleeding with a moment of calm. His whole flick is a moment of calm, but it's an eerie calm, like the bit in The Birds when they walk through all the dead sparrows but it feels fucked-up somehow, like as if some horrible shit's about to happen any damn minute, like maybe somebody decides to put on The Birds II - Land's End.

Collateral is Mann's The Birds, then. It's all very eerie, very eye-of-the-storm, and then every now and again a buncha pigeons start pecking the fuck outta school-kids, or Tommy Boy Cruise decides to rudely interrupt a very interesting anecdote by shooting somebody's face off.

See it, folks. That's all a man like The Duke can ask.

Thanks folks

The Duke resides at Mondo Irlando

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