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Collateral
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Collateral (2004) More at IMDbPro »

Photos (see all 55 | slideshow) Videos (see all 2)
Collateral (2004) -- A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in LA. He must find a way to save both himself and one last victim.
Collateral (2004) -- A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in LA. He must find a way to save both himself and one last victim.

Overview

Note des utilisateurs:
7.8/10   91,239 votes
MOVIEmeter: ?
Up 10% in popularity this week. See rank & trends on IMDbPro.
Réalisateur:
Michael Mann
Scénariste (WGA):
Stuart Beattie (written by)
Contact:
View company contact information for Collateral on IMDbPro.
Release Date:
6 août 2004 (USA) suite
Genre:
Crime | Drame | Thriller suite
Accroche:
It started like any other night
Plot:
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in LA. He must find a way to save both himself and one last victim. full summary | full synopsis
Awards:
Nominated for 2 Oscars. Another 11 wins & 36 nominations suite
Avis des utilisateurs:
Taut thriller led by Cruise's excellent work. suite

Ensemble

  (Cast overview, first billed only)
Create a character page for: ?

Additional Details

Autre(s) titre(s):
Untitled Michael Mann Project (USA) (working title)
Collatéral (Canada: French title) (France) [fr]
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MPAA:
Rated R for violence and language.
Durée:
120 min
Pays:
USA
Couleur:
Couleur
Aspect Ratio:
2.35 : 1 suite
Emplacements De Pelliculage:
Culver City, California, USA suite

Curiosités

Anecdotes:
This movie begins at an airport and ends in a subway. Michael Mann's Heat (1995) begins on a subway and ends at the airport. suite
Goofs:
Factual errors: During the gunfight at the nightclub, Vincent fires at least seventeen shots from his gun before reloading, even though the USP he uses only holds fourteen. suite
Guillemet:
[first lines]
Vincent: You OK?
Airport Man: Yeah, I'm fine mate, don't worry about it.
suite
Movie Connections:
Referenced in "Howard Stern on Demand: Cuba Gooding Jr." (2006) suite
Soundtrack:
En Mi Pueblo suite

foire aux questions

What song plays during the Club Fever shootout?
Why doesn't Vincent simply shoot Max and enlist another cab driver's help?
What song does Annie tell Max to turn up as he drives her around?
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125 out of 171 people found the following comment useful:-
Taut thriller led by Cruise's excellent work., 7 January 2005
8/10
Author: actorman_us de Los Angeles, CA USA

For the better part of his career, Tom Cruise has played the All-American good guy. Gleaming eyed and bushy tailed, Cruise has played the roll of the hero in many films and is certainly the richer for it.

Something happened along the way, though. Cruise wanted to be considered a legitimate actor, rather than merely a "movie star." Therefore, we've seen him go against type, successfully (MAGNOLIA), and not so much (THE LAST SAMURAI). It's as if Cruise is the neglected kid in the back of the classroom who knows all of the answers but is never called upon, and therefore will go to desperate ends for attention. "Oh, Oh!! Pick me!!! Pick me!!!"

For me, Cruise hit it this time. His character in COLLATERAL is a menacing study in coldness. It is a thoroughly believable depiction of an utterly ruthless hit-man. It seems, finally, Cruise is actually BAD, rather than merely acting bad. He disdains his usual tricks in favor of a simple and very real performance.

Let us not forget Jamie Foxx. His character's transformation into a hero is rendered all the more effective by how wonderfully Foxx captures his character's initial impotence and bewilderment. It's a wonderfully effective, energetic, and yet very subtle performance.

Special kudos to Michael Mann. He has a very interesting eye when it comes to capturing the city of Los Angeles on film. His vision of L.A. in this film is one of unease and uncertainty, hardly the usual glitz and glamor treatment. This work is always compelling to the eye and paced to keep the action moving ever forward. Each scene has its own logic, contributing to the overall whole. This is first rate film-making.

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