August 6, 2019

Why 'Collateral' Is the Best Tom Cruise Movie No One Talks About

Tom Cruise's hitman in Michael Mann's Collateral is one of the best things in the history of movies. So how come no one really talks about?

“Red light, Max.”

Tom Cruise is a great actor who is best when he’s playing bad guys. 

For a guy who has made a career out of mastering a perfect, four-quadrant friendly mix of cocky and likable, he excels at villainous roles. See Interview With the Vampire and Collateral, the latter of which turns 15 years old today. Collateral is the best Tom Cruise movie and performance no one (or very few) people give the attention it deserves. Michael Mann’s obsession with digital video in the early aughts started with this gritty thriller, about Vincent (Cruise), an assassin forced to take his cab driver, Max (an Oscar-nominated Jamie Foxx), on a ride as Vincent struggles to get from hit to hit one night in Los Angeles. The pixelated exploits Mann and DP Dion Beebe capture give audiences a seedy look at LA that would go unmatched until Dan Gilroy’s Nightcrawler. Cruise has also never delivered a performance before or since as dangerous or cynical as Vincent. 

With his gun-metal grey suit (an aesthetic Mann first used with De Niro’s character in Heat and repurposes here), Vincent is a velvet switchblade. An unassuming shark swimming in a sea of unsuspecting civilians (and potential targets) when we first meet him as he meets his contact (Jason Statham) in a terminal at LAX. The moment Vincent collides with his unnamed handler in a staged encounter, something feels… off. Yes, the hand off of Vincent’s assignments that goes down here is designed to involve “bumping” into someone to make it look innocuous – but soon after, Vincent’s entire night feels the very real aftershocks of that fake incident. His job here becomes a steady escalation of the feeling of being thrown off, it continues when Vincent comes this close to getting into another cab before Max waves him over. (This is after a distracted Max ignored Vincent's attempt to get his attention the first time). 

These ripples force Vincent -- and the very clean, very complacent Max -- to “improvise, adapt to the environment, Darwin, shit happens, I Ching.” Ironically, the forward momentum-fueled Vincent’s attempts to “roll with it” seemingly get him increasingly boxed in and cornered, while Max’s choices to break out from his all-but-hermetically-sealed comfort zone allow him to prosper and grow -- albeit under the constant threat of being shot at or killed. 

Cruise sells all of Vincent’s struggles and angst with a performance that is as explosive with bursts of violence as it is internalized. This is a guy who justifies aloud that he didn’t kill his first target, the bullets and the fall did. (No doubt a version of this statement is something Vincent has been telling himself for a long time to validate what he does and how coolly he does it). Only Cruise could trade on his goodwill with audiences and pull off a literal stone-cold killer that keeps his fans reaching for their popcorn when they’re not gripping their arm rests. 

All of Vincent’s love-to-hate traits and cynicism simmer into a controlled boil during Cruise’s best scene in the movie, when he takes Max to a jazz club to assassinate (unbeknownst to Max) his next target: A talented Jazz player (the great Barry Shabaka Henley.) After Henley’s character enthralls the two with a story about how he once met the great Miles Davis, Cruise’s eyes show that Vincent is an active listener and fan to everything being said. Even though that, behind the smile in his eyes, is a sinister grin. Because Vincent is toying with his prey, but not out of malice per say. Rather, this is just the job. The chit-chat here is the bullets and the fall. And as Max tells Vincent, there are “standard parts in people” and while Vincent lacks them in practice, Cruise manages to grind his law or narrow his gaze to imply that their loss still stings. That maybe those standard parts aren’t gone, but rather, worse, numbed to a life spent dealing death. 

Cruise’s performance is only enhanced by Foxx’s, as Max serves as a mirror for Vincent. Whereas Vincent is all forward motion, cutting a swath through morally and ethically grey areas in service of the very black and white notions of life and death, Max is a tourist almost in his own life. He has an endearing abundance of the parts Vincent lacks, but his life pays for it with a great irony: He’s a cab driver stuck in his own life. He can get anyone anywhere they want to go except for himself; living his dream behind the wheel of a shitty job, torturing himself with the hope of escaping to the island paradise that inspires/taunts him from the post card pinned to his cab’s visor. Maybe Max’s “Paradise Limos” venture would have gotten off the ground one day, but it definitely got a (no pun intended) shot in the arm the moment Vincent shot a “fat Angelino” out of a window.  

Mann excels at pitting opposites against each other, physically and/or thematically duking it out within an intimate epic filled with crime and murder and guns and the consequences that come with it. Cruise and Foxx are especially adept, like Heat’s Pacino and De Niro before them, at navigating this slippery, digitally-graded slope. They give each scene the exact amount of whatever it needs, a staple of Cruise’s best performances -- among which Vincent should rank significantly high. 

And be talked about even louder.      

Your Comment

12 Comments

Agreed...Collateral was a great movie.

August 6, 2019 at 2:40PM

2
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For God’s sake, you could at least spell the DP’s name correctly.

August 6, 2019 at 4:54PM

2
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Nathan T
DP
276

Collateral was a terrific film; Michael Mann created an atmospheric LA that readily accommodated both Vincent and Max. Cruise was pitch perfect in the role. It's in his top 5 of all time.

August 6, 2019 at 7:14PM

1
Reply

nice post

August 7, 2019 at 5:37AM

0
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Daisy Thomas
Assignments writer
16

Tom Cruise is awesome in collateral. I have rarely seen such intense acting. The storyline is really enjoyable where the criminal and a simple taxi driver become somewhere very ? close to each other. Just a great movie with great acting.

August 7, 2019 at 12:58PM

19
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I always knew this is the best of the best.

August 7, 2019 at 1:53PM, Edited August 7, 1:53PM

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Ben Powell
Management
16

Cruise was great in this movie, I get the impression that audiences don't seem to accept him as the bad guy even though he plays bad guys so well. Re: digital photography - I vaguely remember that much of this movie was shot on 35mm, although the night-time exteriors were shot digitally and Mann had experimented with digital on his earlier 'Ali'.

August 8, 2019 at 7:49AM

4
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The film was shot entirely on digital, with the exception of the “Fever” nightclub scene.

August 8, 2019 at 2:29PM

3
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Any movie where I forget Tom Cruise is Tom Cruise, is an instant success. Mann nailed it with this one. Great film.

August 8, 2019 at 2:27PM

2
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I know a lot of people who loved it (myself included) but it can't be called just a Tom Cruise movie because it's at least 50% a Jamie Foxx movie, probably more like 60%. Either way the dynamic is fantastic.

August 8, 2019 at 5:12PM, Edited August 8, 5:12PM

0
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avatar
Douglas Bowker
Animation, Video, Motion-Graphics
430

Very well written article and Collateral was indeed the best Cruise's movie.

August 9, 2019 at 3:56AM

2
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kicap
193

There’s nothing more blowhard than people who use the word “aughts.” Pre 2000’s and during the 2000’s we used “2000’s” or “oh” then the year like “oh five” or “oh six.” That’s why it’s better to use the word “oh-ies” or “ohies!”

August 10, 2019 at 4:44PM

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K W
413