Mann would have been smart to use Smith's character as a way to flesh out his protagonist — giving him a reason to make it through the night — but instead the writer/director falls prey to formulaic thriller doctrine that she must of course come back into the plot at the film's end. As the two story-lines overlap in a most expected way, Mann's movie takes its final step out of the realm of the interesting and into that of the mediocre and predictable.

Through all the excitement — of which there truly is some-- the forced dialogue, and the predictable outcome, there is one moment where Michael Mann's genius flashes quickly on screen. Right before the film heads towards a disappointing end, Max has to stop the cab short in front of a family of coyotes crossing the street. Their eyes glow in the headlights as they pass, and Mann beautifully pulls out all music and ambient noise from the soundtrack, leaving Max, Vincent and the audience in absolute silence and with the realization that there is no barrier — physical or otherwise — between L.A.'s civilization and the wild beyond its borders. It is therefore quite telling that just as the moment happens, however, the music track comes back in and becomes a terribly grating and out-of-place alternative rock song that left me wanting to press the mute button on my set.

Collateral is the story of what could have been. Perhaps a more interesting version could be made if the viewer watches the first half, and then turns it off. Honestly, if the average audience member can think up a better ending to the film, couldn't the seasoned Mann?