Collateral features an insecure and kind-hearted but bumbling cabbie (Jamie Fox) who is a big dreamer but not a big doer and a hit man, Tom Cruise, starring as the silver-haired “Vincent.” Vincent: the cold-hearted hit-man who is out to do his job and who, by chance, hires Jamie Fox to be his driver for the night as he makes his seven necessary stops, knocking off witnesses, lawyers and anyone else who may be of any assistance in what we assume is a big case soon to follow.
The beginning of the film establishes Fox’s character, showing him conversing and dropping of the lovely Jada Pinkett Smith as she (plot conveniently) happens to take his cab home the night before her big case, and damn, finds him cute and endearing so gives him her business card before departing into the night. A heavy hand falls.
Next fare: Vincent hops in with his super-duper Palm Pilot and Abercrombie briefcase, full of profiles and photographs and addresses and Fox is hired on the spot. Understand, this isn’t’ really a choice for Fox, and though Cruise offers him money (about seven hundred dollars), it seems highly unlikely that he will be keeping it, since surely a good hit man is going to kill the only person who can ID him. Still, what choice does Fox have? With a gun to his head, he is off with his passenger.
The first few hits go rather seamlessly, save for a body rather inconveniently and stupidly, being tossed over the fourth floor balcony and landing directly on the windshield of Fox’s cab. Seems sloppy work for a professional hit man. After all, aren’t the cops going to pull you over for such a violation? Why not change the car at that point? I mean, you’re in the business of killing people, what is the big leap from that to stealing a car in a garage and swapping the plate, a thing done by junior gang bangers every day.
Nope. Cruise wants to stick with this cab and so off they go into the night again, and whoops, are pulled over by the LAPD for, guess guess, a cracked windshield, which Fox tries to explain as “hitting a moose” among other nonsensical and bumbling answers that, I think, are supposed to be light or funny but that instead fall flat on their face and just sound stupid. And just as we (and the cops) are tiring of Fox’s lame explanations, fate steps in and the police receive “a more important call” and so order Fox and his fare (and oh, the body of the balcony guy that is in the trunk) to “return to their garage immediately.” A stern warning indeed! The whole scene seems highly improbable, and one isn’t certain why it is there at all. If it is for comic effect, it fails. If for suspense, then true, for a moment we think perhaps they are caught and can see the plot taking a different twist, but the “out” is too easy. The writer’s insult the intelligence of the audience here (well, not only here, but here is one glaring example).
Article comments
1 - Aaman
Fine insights, Sadi. I too, felt it was a good film, but as contrived as most other pulp put out nowadays. Of course, the superlative acting make this a must-watch in a shallow sea of crap.
2 - sadi
thanks Aaman. The film is certainly entertaining enough and i would recommend it in many ways, hokey or not. it's still a fun ride... and i'm all tired out of the end of the world, dead people trend in films these days (White Noise, The Grudge, etc etc). Life has gotten creepy enough - why the need to boost the creeped out factor? Curious.
thanks =-
sadi
3 - Unisol
Sadi,
No disrespect, but, how often did the popcorn chewing get in the way of dialogue and several key scenes that are important to the plot?
First off, the character played by Jada Pinkett Smith was, as you say, NEVER dropped off at her house. The dialogue between herself and Foxx points this out, as does the building where she is dropped off (gasp!) is a FEDERAL courthouse.
Second, it was the FIRST hit that went wrong...not the FOURTH. This is an example of Karma, which the hitman Vincent (Cruise) eludes too, saying "you have to roll with it."
Third, "why would a professional hit-man stick with the cab instead of doing XYZ?" Hmm, lets see...window crash, Max (Foxx) screams, loud noise and chatter from Vincent and his driver...all a few feet away from an apartment complex. It would seem better to just get the hell out of there and leave as little evidence behind as possible (which was why the body went in the truck, why Vincent washed most of the blood off the windshield, and why he took Max with him...because to kill him, leave them there, steal another car and change the plate...well...that leaves stuff behind for someone to find...and it takes too much time...as Vincent refers to his scedule constantly. Seems to be a VERY professional hit-man to me.
Fourth, the relationship between Max and Vincent. They are not the same. Vicent sees Max as inferior for the most part...and those moments he does see and mirror of himself in Max, he pushes it aside by insulting him. Perfect example, the Jazz club scene...Vicent really does not want to kill the Jazz player. But a job is a job...and Vicent loves his work. When Max brings up "improvisation", a term Vicent used earlier to justify something, Vincent sees his own inner self in Max...so he pushes him aside by saying, "That's funny coming from you." But Vincent relents and gives in, giving the Jazz player a possible out by answering a Jazz trivia question.
Another great example is (you fav.) the scene with Max's mother. Vicent was absolutely right about the "pattern" Max has and any changing of it. As we can see, Max's mother has a big mouth and would've probably raised hell if her son didn't come to see her. Case in point. Vicent's, which you learn if you pay attention, mother died when he was a child...around 2-4 years of age. In essence, he never had a mother...and his father was a bastard by all standards. Talking with Max's mother provides a connection, something Vicent hasn't experienced in his life...and it intrigues him and he see's Max's reaction to Vicent being near his mother and sees, first hand and very up close...the love between a mother and her son. A revelation for the hit-man i am sure.
This is also the moment, not in the nightclub (though i agree with you that this is where Max finally "HAS" to act and confront all falsity) that Max snaps and "acts", finding his backbone and balls, not becuase out of any sense of duty or fear or heroism...but out of jealousy because his mother is treating this total stranger with more kindness and tenderness and love...than she will allow herself to treat him with. Only by talking to a killer, can she finally say she is proud of him (even if the reason is false) and that she loves him. That kind of attention drives Max to actually DO something that matters, take away the list from Vincent.
Well...I think that is it. If you agree, good. If not...oh well...my two cents. The article was very well written though.
Oh yeah! Forgot! Those were coyotes that crossed the road in that scene...and they tend to travel alone...but sometimes in pairs or a pack of 3-4. Just some info.
Later.
4 - steve
this movie was great. I had a fixed opinion of jamie foxx...that he could never achieve anything past booty call..but he is actually a great actor. right after collateral...ray came out...confirmed my thoughts.
it was also nice to see tom cruise as a bad guy. I liked the story structure....liked the jazz club scene the best.....love the music...its called "pharoh's dance" by miles davis...off bitches brew...the first real fusion album....GREAT movie...Ill give it a b+
5 - sade
i liked it too in some ways, a B+ is about right... thx. for reading and also, above, thx, for the info. about coyotes. who knew?
Cheers and rock on,
sade
6 - Bob A. Booey
I don't like Jaime Foxx, but I thought this looked good when I saw the commercials way back and Tom Cruise has picked some interesting scripts the last few years. I'm going to rent this and I'll let you know if it's good.
That is all.
7 - sade
okay; obviously, my own thoughts are in the review.
cheers,
s.r.p.