![]() The following video essay offers an alternate view of the ending and an exploration on the role of masculinity in Collateral. ![]() It's a letdown in the action department, feels overly familiar and requires more suspension of disbelief. While the closing line and final images are well handled, the overall ending concludes with a fizzle rather than a bang. The other major disappointment lies in the ending. It could be a challenge to take in stride the expository chats between them when the conversation turns casual and the antagonism subsides. While the performances never falter, there are a handful of exchanges between Max and Vincent that require a high level of suspension of disbelief. There are a couple of more significant flaws in Collateral as well, unfortunately. Mann even went as far as to claim that Collateral was one of the first movies to attempt a stylistic “look” using digital video. This is most likely due to about 80% of the movie being shot on digital when it was still finding its footing. There are a few minor issues, such as a handful of odd soundtrack choices and a couple of moments where the picture quality is just a touch below ideal. Collateral movie ending Expertly crafted, yet not flawless Some of Mann’s directorial quirks and requirements could be labeled as excessive but, for him, it all builds to a heightened sense of authenticity in the character which is reflected in the performances. And Mark Ruffalo, who plays a vice Detective, underwent similar extensive weapons training as Cruise, despite the fact his character never once fires his gun in the film. Jamie Foxx spent countless hours driving with real cab drivers as well as practicing high-speed driving. Mann’s extensive preparation regimens were put in place for the rest of the cast as well. This added a new layer of realism and bombastic intensity to Heat, a layer which Mann carried over into the sound design of Collateral. The authentic audio captured of the deafening gun blasts echoing off the high-rises was unlike any previously heard movie gunshots. While making Heat, Mann realized that he preferred the diegetic sound of the real blanks being fired on the crowded LA streets over anything his sound designers could whip up. But Mann transferred his experiences making Heat into a smaller, more compact form that suits the story of the movie. None of the action in Collateral is as big or jaw dropping as the centerpiece shootout in Heat. See what other movies like Collateral made the cut. Collateral and Heat both made it onto our list of the best crime films. His magnum opus of action scenes, the street-bound cops vs robbers battle in Heat, stands tall as one of best, if not the best, action shootouts of all time. Mann’s films might not be full of straight-up action films, but he has proven himself to be a master of the cinematic gunfight. In Collateral, Michael Mann takes a "quality over quantity" approach to action sequences. For a rundown of great action films, check out the best action films ever made. One could argue that the premise of a hitman carrying out five executions in a single night should make for more action, but what action is there, is expertly handled. ![]() Tom Cruise hitman movie - Collateral 2004 The action: quality over quantityįor an action-thriller, the amount of action in Collateral is certainly on the low side.
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