tom cruise collateral shoes

Cast & crew
User reviews

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 Los Angeles. 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 Los Angeles. 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 Los Angeles.

Michael Mann
Stuart Beattie
Jada Pinkett Smith
1K User reviews
238 Critic reviews
71 Metascore
22 wins & 73 nominations total

Richard Weidner

Traffic Cop #1

Young Professional Man

Young Professional Woman

Traffic Cop #2

(as Ken Ver Cammen)
(as Charlie E. Schmidt Jr.)
Fever Bouncer
(as Michael A. Bentt)
All cast & crew
Production, box office & more at IMDbPro

More like this

Did you know

Trivia According to Michael Mann , Vincent is a man able to get in and out of anywhere without anyone recognizing or remembering him. To prepare for the movie, Tom Cruise had to make FedEx deliveries in a crowded Los Angeles market without anyone recognizing him.
Goofs When Max and Vincent load the first corpse in the trunk, the "corpse" is holding Max by the wrists as well.

Vincent : Look in the mirror. Paper towels, clean cab. Limo company some day. How much you got saved?

Max : That ain't any of your business.

Vincent : Someday? Someday my dream will come? One night you will wake up and discover it never happened. It's all turned around on you. It never will. Suddenly you are old. Didn't happen, and it never will, because you were never going to do it anyway. You'll push it into memory and then zone out in your barco lounger, being hypnotized by daytime TV for the rest of your life. Don't you talk to me about murder. All it ever took was a down payment on a Lincoln town car. That girl,you can't even call that girl. What the fuck are you still doing driving a cab?

Crazy credits There are no opening credits of any kind. The title does not appear until the closing credits.
Connections Featured in Siskel & Ebert: Collateral/Code 46/Stander/Little Black Book/Festival Express (2004)
Soundtracks Debestar Written by Rick Garcia , Rene Reyes & Cisco De Luna Performed by The Green Car Motel Courtesy of FastKat Records

User reviews 1K

bob the moo
Sep 19, 2004
Is this the first film that Tom Cruise has played a villain?
What's the song that Daniel is playing when Max & Vincent see him playing in the jazz club?
August 6, 2004 (United States)
United States
-Official Facebook
Untitled Michael Mann Project
El Rodeo Restaurant, 8825 E Washington Blvd, Pico Rivera, California, USA (Felix' hangout)
Paramount Pictures
Dreamworks Pictures
Parkes/MacDonald Image Nation
See more company credits at IMDbPro
$65,000,000 (estimated)
$101,005,703
$24,701,458
Aug 8, 2004
$220,239,925

Technical specs

Runtime 2 hours
Dolby Digital

More to explore

Collateral Is the Most Michael Mann Film of All Michael Mann Films

An underrated gritty return to form, the film includes the best seven minutes on his resume that don’t involve Robert De Niro, Al Pacino, and a diner booth.

Every product was carefully curated by an Esquire editor. We may earn a commission from these links.

In Michael Mann’s greatest movies, the good guys are never really all that different from the bad guys. And make no mistake, they are always guys. The heroes and antiheroes of his stylishly macho films are put through their cat-and-mouse paces in a decidedly grey moral world, rather than a black-and-white one. There’s no room for concepts like right and wrong, they are all lonely nocturnal ambiguity—modern-day Ronin sagas cloaked in a cool shades of gun-metal slate. Just think of Robert De Niro and Al Pacino in 1995’s Heat , where these two acting heavyweights play two equally obsessive sides of the same coin. Watching their famous diner tete-a-tete with the sound off, you’d never know who was the cop and who was the criminal.

Heat is widely (and rightly) considered to be Mann’s masterpiece—the director’s grand meditation on all of his favorite pet themes: loyalty, honor, integrity, crime, compulsion, loneliness, and the point where good and evil bleed into one another until you’re no longer sure which side you’re meant to be rooting for. It’s a grab bag of leitmotifs that was there from the start in the director’s pair of ‘80s gems, Thief and Manhunter . But as undeniably lean and mean as both of those films are, I’d argue the movie that actually nips most closely at the heels of Heat in the top tier of Mann’s underworld classics is 2004’s Collateral —another violent, nihilism-drenched thriller that, if you squint just a little, seems to exist in the same spiritual universe as Heat . They’re two movements in an underworld symphony of L.A. after dark.

Just out in a flawless new 4K Ultra HD Blu-ray, Collateral isn’t exactly what anyone who considers themselves to be an auteur buff would call a “deep cut.” Any movie that stars Tom Cruise and Jamie Foxx and makes $220 million at the worldwide box office can hardly be called “overlooked.” And yet, well, it kind of is. The story of a lone-wolf contract killer (Cruise) who strongarms a hapless and meticulous cab driver (Foxx) into ferrying him on his nightly rounds to wipe out five targets involved in a grand-jury case, Collateral may not be the best Michael Mann film, but it certainly is the most Michael Mann film.

When Collateral hit theaters 16 years ago, Mann was coming off a pair of well-received, Oscar-nominated dramas, 1999’s The Insider and 2001’s Ali . Both had the technical precision, live-wire performances, and high-IQ smarts we expect from Mann’s movies. And both were based on real life headlines and headline-makers. But let’s face it, real life isn’t what we’re looking for when we fork over ten bucks to see a new Michael Mann movie. We want crooks plying their crooked trades in the shadows, haunted men obsessed with their jobs to the point of mania, and the sort of gritty-but-gorgeous action set pieces that leave you breathless and spent. Collateral marked a return to stoic form.

Written by Australian Stuart Beattie, Collateral was originally called The Last Domino , a lousy title which was thankfully changed. And eventually, the script made its way into the hands of Frank Darabont ( The Shawshank Redemption ), who had a deal at the time to make low-budget genre movies for HBO. But HBO passed, clearing the way for DreamWorks to step in. The studio flirted with Mimi Leder ( Deep Impact ) and cinematographer Janusz Kaminski ( Saving Private Ryan ) to direct, but both would end up drifting away. As would Russell Crowe, who was itching to play the hitman-villain role of Vincent. But the one fortuitous thing that came from Crowe’s brief involvement was that he passed his enthusiasm onto the man who recently directed him in The Insider , Michael Mann.

More Coverage Of the Movies That Matter

With Crowe out, Mann sparked to the idea of casting Tom Cruise against heroic type. Adam Sandler toyed with the idea of playing Max, the cabbie. But when Sandler bailed to star in Spanglish (just one of the countless puzzling, ‘What If’ choices Hollywood happens to be littered with), Mann offered the part to Jamie Foxx—a happy accident if ever there was one because he’s absolutely perfect. Something Mann suspected from working with the actor on Ali . As is Cruise, whose unexpected amorality and guiltless, hair-trigger sadism shows just how great the star can be when he fucks with our expectations and zigs when we expect him to zag.

Over the years, Mann has described Collateral as “only the third act” of a story. And that gambit works so well in the film that you have to wonder why more screenwriters and directors don’t try that sort of formal experimentation more often. At the opening of the film, we have no idea who Cruise’s Vincent is, what his backstory is, or what he’s doing in L.A. We just seeing him walking through LAX, presumably just off a plane from Chicago or some other metropolis that breeds cold-eyed killers dressed in sharp grey suits with sunglasses and a shock of silver-grey hair on his head that matches the close-cropped, salt-and-pepper beard on his face. If Tom Ford ever created an haute couture line for sociopaths, Vincent would be its posterboy.

While Cruise’s Vincent is a complete mystery, Foxx’s Max is less so thanks to an introductory scene in which he takes a prosecutor (Jada Pinkett Smith in the best ten minutes she’s ever had on screen) to the airport. Within seconds, he knows what she does for a living, what makes her tick, and even who makes her handbag. Because, for Max, his cab is a confessional booth on wheels. He sees so many people in his rearview mirror every day that he’s developed a sixth sense about them. It’s too bad he doesn’t size up Vincent a few beats longer before he becomes his next fare. Cruise starts off chatty and chummy with Max, offering him $600 to take him to five different spots around L.A. And if the offer seems to be too good to be true, that’s because it is. While parked in an alley during their first stop, a bullet-riddled body lands on the roof of Max’s cab with Cruise racing after it, suddenly forced to explain the new reality of the long, bloody evening that lays ahead. “You killed him!” Max says. To which Vincent matter-of-factly replies, “No, the bullets and the fall killed him….Now get in the fucking car.”

Collateral (4K UHD + Blu-ray + Digital)

Watching Collateral again this week, the thing that surprised me the most about it was how amazing Cruise is playing a psycho grim reaper—and why, with the exception of 1999’s Magnolia , he didn’t venture into the dark more often. You could say that Collateral is the anti-Tom Cruise movie, an immersive, full-body deep dive into seductive sadism and remorseless evil where he gets to spout be-bop arias of unhinged lunacy that we rarely get to hear coming out his mouth like “We’ve got to make the best of it. Improvise, adapt to the environment, Darwin, shit happens, I Ching, whatever man, we gotta roll with it.” And yet, it’s also totally a Tom Cruise movie because, well, you can’t help but be a little charmed—seduced even—by this existential sicko no matter how depraved his five-item To Do list is.

Like every Michael Mann movie—even the not very good ones like Public Enemies and Blackhat —every single frame in Collateral is composed with a jeweler’s eye for detail. This was actually the first film in which Mann (or really any A-list Hollywood director actually) used high-def video instead of film stock. Mann has said that in order to capture the silhouettes of L.A. at night, celluloid wouldn’t have worked. I’ll take his word for it. But the film’s green-tinted graininess gives the Tinseltown of Collateral the haunted neo-noir glow of a ghost town that left the lights on before it was abandoned. In the movie’s greatest sustained spasm of suspense and violence, he shoots a chaotic gunfight inside a Koreatown dance club like something out of one of the higher rings of Dante’s Inferno. It may be the best seven minutes on his resume that don’t involve Robert De Niro and Al Pacino sitting in a diner booth. And watching it, you can’t help but think of what a mess it might have been had someone like Michael Bay or Joss Whedon directed it instead.

If Collateral wasn’t as great a film as it is, it would be worth checking out just for that sequence alone. But, of course, there’s so many more brilliant moments hiding in plain sight in the movie that jump out at you the more times you watch it: The way Foxx manages to flirt with Pinkett Smith without actually flirting; the way Cruise pop, pop, pops a bunch of drug-addled goons trying to make off with his briefcase and then delivers one final pop without looking as an exclamation point; the way Javier Bardem, in just one quick scene, manages to turn a story about Santa Claus into the cold-sweat nightmare fuel. But don’t take my word for it. Throw it on for yourself and, you know, “improvise, adapt to the environment, Darwin, shit happens, I Ching, whatever man, roll with it….”

@media(max-width: 73.75rem){.css-1ktbcds:before{margin-right:0.4375rem;color:#FF3A30;content:'_';display:inline-block;}}@media(min-width: 64rem){.css-1ktbcds:before{margin-right:0.5625rem;color:#FF3A30;content:'_';display:inline-block;}} Movies

Every Ryan Gosling Movie Ranked

‘The Fall Guy’ Is Ready to Explode the Box Office

13 Photos of Directors at Their Cannes Premieres

The Best Movies of 2024 (So Far)

The Best Action Movies of 2024 (So Far)

The 45 Saddest Movies of All Time

I Need a ‘Challengers’ Rematch Right Now

Wait, Who Won the Tennis Match in ‘Challengers’?

42 Questions I Have After ‘Challengers’

The 40 Best Movies About Sex

The 25 Greatest War Movies of All Time

clock This article was published more than 19 years ago

'Collateral': The Meter Keeps Running

The not-so-funny thing is that Tom Cruise is a better samurai in "Collateral" than he was in his last movie, in which he actually played a samurai. Cruise is the gray-hued symbol of the universe's mayhem in the new Michael Mann film, a killer with an ironic sense of self, a knowledge of jazz, clothes cool enough to get him into GQ and a remorseless will.

It's really his movie all the way: His Vincent, frosty of hair and beard, feral and fierce, with glittery rat eyes, lives by the code and will die by it. Cruise's savage beauty, that prominent blade of a nose, his tiny, perfect darkness, his athleticism, just a whisper of vanity -- all come into play in what is certainly his best performance since "Magnolia."

The movie that sustains this conceit is terrific, a fever-dream of urban violence, set in a neon nightmare. In this world, Vincent is king. Vincent, from nowhere, no back story, no bio, no parents or family or culture, Vincent the consummate professional, is in to kill five witnesses in a single night and catch the 6:30 a.m. out of LAX for parts unknown. He dresses Italian, shoots German (suits by Versace, pistol by Heckler & Koch), talks like Norman Mailer's White Negro and improvises brilliantly. He will get the job done, no matter the opposition. That's what he does. That's all he does.

He needs a cab, however, and he picks Max's.

You might say: Hmm, wouldn't his employers have provided him with a driver? They are professionals themselves, and they would understand that reliable mobility is the key to Vincent's run. However, while you might say it before the movie and you might still be saying it after the movie, you won't say it during the movie; it's that gripping.

Vincent leaves the airport terminal, picks up a briefcase full of firepower and a laptop with addresses and names on the hard drive, and gets into the cab, which just happens to be Max's, after Max has dallied over an encounter with the perfect fare (Jada Pinkett Smith). Vincent, meet Max (Jamie Foxx).

Vincent, Max is everything you're not, everything you should hold in contempt. He's almost your opposite: a dreamy kind of fellow who's only driving a cab temporarily, although the "temporary" has now lasted 12 years. He imagines owning Mercedes S-Class limos, but he seems to have made no progress. He lacks not only your laser focus, your ease at expressing yourself through murder, your professional joy in doing the job well, your love of the challenge, but he's dressed like a kid in a mall. He's one of those schnooks who'll wake up from his nap to discover he died three years ago.

Yet the crux of the movie is that in the strange way Vincent's mind works, he comes to rather like Max. He loves Max's eagerness to please, his unwillingness to challenge, his perfect obedience. He may even be a little lonely and having Max along is amusing, given the high-stress nature of the job.

Together, the two begin an odyssey across the nightscape, from one kill to another, while the camera studies Vince's sharp suit and black, pointy-toed shoes and Max frets his way through acts of rebellion, quashed easily by Vincent. If this sounds not so much dicey as vicey -- that is, "Miami Vicey" -- it should; the director, Mann, brought this form of jazz cool to crime stories many years ago on "Miami Vice" and other television work. He expanded it with "Heat," that great bank-job epic, then gave it up with two dim misfires ("The Insider" and "Ali"). Nice to have him back in the 'hood.

Here's the wrinkle: Under the slick stylings, the neon-through-windshield blur, the sense of fog in the night air, the prevalence of lots of men wearing sunglasses in the dark (kids, don't try that at home), the movie has something of a therapeutic subtext. Vincent and Max don't end up holding hands, singing "Kumbaya" and fire-walking together, but it's clear that in some old-fashioned John Wayne way, the frosty Vincent is serving as a mentor to Max. He forces him to do and be things the laid-back underachiever could never have done or been. In the end, Max becomes that which seemed utterly impossible in the early going: a hero.

The movie goes a little wobbly when Mann leaves the intensity of the Max-Vincent pas de deux. For storytelling purposes -- Mann needs a chase structure -- he cuts away frequently to a team of cops who begin to piece together (the corpses are helpful) the nature of Vincent's mission and thereby work out ways to intercept him. These sequences, headlined by the fine actor Mark Ruffalo, really don't come to much, but they effectively modulate Cruise's intensity.

And each of the hits has a visual freshness to it: We look away at a key moment, or a gun comes from nowhere at a key moment ending a jazz riff, or the movie goes momentarily John Woo with a Hong Kong-style shootout in a Korean nightclub, or two street punks don't know how overmatched they are when they draw on Vincent and he handles them with the samurai's utter speed and style.

"Collateral" is the best kind of genre filmmaking: It plays by the rules, obeys the traditions and is both familiar and fresh at once.

Collateral (105 minutes, at area theaters) is rated R for extreme violence.

Tom Cruise as a killer with miles to go before he sleeps.Jamie Foxx and Jada Pinkett Smith, above, are a cabbie and his fare in Michael Mann's thriller. Right, Foxx's character gets caught up in the attempt by a killer (played by Tom Cruise) to kill five witnesses in a single night.

Screenwriting \e607
Cinematography & Cameras \e605
Directing \e606
Editing & Post-Production \e602
Documentary \e603
Movies & TV \e60a
Producing \e608
Distribution & Marketing \e604
Fundraising & Crowdfunding \e60f
Festivals & Events \e611
Sound & Music \e601
Games & Transmedia \e60e
Grants, Contests, & Awards \e60d
Film School \e610
Marketplace & Deals \e60b
Off Topic \e609
This Site \e600

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.

Perfectly Recreate Nicole Kidman’s Viral AMC Ad With This Breakdown

A look into how director of photography indeana underhill and her team were able to precisely recreate nicole kidman’s amc ad for her afi lifetime achievement award..

For those who’ve been lucky enough to watch a movie at an AMC theater in the past year, you’ve most likely gotten a chance to experience Nicole Kidman’s heartfelt “ We Make Movies Better ” short which serves both as a cinema intro as well as a television spot advertising why movies are magical.

The ad, which features Kidman braving through a rainy, puddly parking lot to watch a movie alone in an AMC theater found viral life of its own on Twitter and with fans online who found a mix of humor and inspiration from the short.

And, to honor Kidman with her AFI Lifetime Achievement Award, director of photography Indeana Underhill was recruited to recreate the viral ad and has shared a very cool side-by-side breakdown as well as some interesting behind-the-scenes peeks into her process.

Recreating Nicole Kidman’s AMC Ad

As you can see in the side-by-side breakdown below, Underhill and her team were able to recreate the exact lensing, framing, movement, and lighting in a green screen world for the video with only a few hours of production time.

In particular, Underhill shares that the original ad (which was shot by Jeff Cronenworth) used Leitz Summilux-C lenses, which Underhill and her team were also able to use thanks to Keslow Camera as well as made use of new light modifiers like the DoP Choice AIRGLOW to recreate the softer sources in a smaller studio environment.

See on Instagram

Exploring Cinematography for Actors

If you followed No Film School’s coverage of NAB this year , you might recognize Underhill as one of our video hosts as she and Haeleigh Royall brought us full coverage from the conference floor in Vegas. Underhill and Royall are founders of Cinematography for Actors and are focused on teaching the technical side of performance.

DJI Launches its Most Affordable Drone Ever with DJI Mini 4K

What is a "mary sue", how to write character introductions (w/ template), a complete list of hollywood slang, how we made a feature film for $200, the most important show on tv is on amazon, how this filmmaker shot a documentary in the ukrainian war zone, why apple’s new ipad pro spot is as tone deaf as it looks, let's analyze that 'baby reindeer' ending, make your videos sharper, less blurry with adobe’s ai upscaling.

Get Free high-resolution PDF of How to Write a Screenplay

an image, when javascript is unavailable

Flipboard icon Flipboard
Newsletters
Celebrity Style

Tom Cruise Elevates Three-Piece Suit With Heeled Shoes at ‘Mission: Impossible – Dead Reckoning Part One’ UK Premiere

The Editor-Tested Bombas Ballet Slippers Are a Cozy and Chic Mother’s Day Gift Idea You’ll Want to Buy for Yourself

Fashion News
Collaborations
Outdoor Footwear
Women’s Footwear
Sneaker News
Men’s Footwear
Children Footwear
Business News
Executive Moves
Mergers & Acquisitions
Shoe Guides
Sneaker Deals
FN Gift Guides
Foot Health

Access exclusive content

Alerts & Newsletters

By providing your information, you agree to our Terms of Use and our Privacy Policy . We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, 'collateral' a genre thriller, but so much more.

Now streaming on:

"Collateral" opens with Tom Cruise exchanging briefcases with a stranger in an airport. Then, intriguingly, it seems to turn into another movie. We meet a cab driver named Max ( Jamie Foxx ), who picks up a ride named Annie ( Jada Pinkett Smith). She's all business. She rattles off the streets he should take to get her to downtown Los Angeles. He says he knows a faster route. They end up making a bet: The ride will be free if he doesn't get them downtown faster.

The scene continues. It's not about flirtation. Sometimes you only need to have a few words with a person to know you would like to have many more. They open up. She's a federal prosecutor who confesses she's so nervous the night before a big case that she cries. He says he plans to own his own limousine service. They like each other. He lets her get out of the cab and knows he should have asked for her number. Then she taps on the window and gives him her card.

This is a long scene to come at the beginning of a thriller, but a good one, establishing two important characters. It is also good on its own terms, like a self-contained short film. It allows us to learn things about Max we could not possibly learn in the scenes to follow, and adds a subtext after the next customer into his cab is Tom Cruise.

Cruise plays a man named Vincent, who seems certain, centered, and nice. He needs a driver to spend all night with him, driving to five destinations, and offers him six crisp $100 bills as persuasion. First stop, an apartment building. No parking in front. Vincent tells Max to wait for him in the alley. If you know nothing about the film, save this review until after.

A body lands on top of the cab. "You threw him out of the window and killed him?" Max asks incredulously. No, says Vincent, the bullets killed him. Then he went out the window. So now we know more about Vincent. The movie is structured to make his occupation a surprise, but how much of a surprise can it be when the movie's Web site cheerfully blurts out: "Vincent is a contract killer." Never mind. The surprise about Vincent's occupation is the least of the movie's pleasures.

"Collateral" is essentially a long conversation between a killer and a man who fears for his life. Mann punctuates the conversation with what happens at each of the five stops, where he uses detailed character roles and convincing dialogue by writer Stuart Beattie to create, essentially, more short films that could be free-standing. Look at the heartbreaking scene where Vincent takes Max along with him into a nightclub, where they have a late-night talk with Daniel ( Barry Shabaka Henley ), the owner. Daniel remembers a night Miles Davis came into the club, recalling it with such warmth and wonder, such regret for his own missed opportunities as a musician, that we're looking into the window of his life.

Mann is working in a genre with "Collateral," as he was in " Heat " (1995), but he deepens genre through the kind of specific detail that would grace a straight drama. Consider a scene where Vincent asks (or orders) Max to take him to the hospital where Max's mother is a patient. The mother is played by Irma P. Hall (the old lady in the Coens' "The Lady-Killers"), and she makes an instant impression, as a woman who looks at this man with her son, and intuits that everything might not be right, and keeps that to herself.

These scenes are so much more interesting than the standard approach of the shifty club owner or the comic-relief Big Mama. Mann allows dialogue into the kind of movie that many directors now approach as wall-to-wall action. Action gains a lot when it happens to convincing individuals, instead of to off-the-shelf action figures.

What's particularly interesting is the way he, and Cruise, modulate the development of Vincent as a character. Vincent is not what he seems, but his secret is not that he's a killer; that's merely his occupation. His secret is his hidden psychological life going back to childhood, and in the way he thinks all the time about what life means, even as he takes it. When Max tells him the taxi job is "temporary" and talks about his business plans, Vincent finds out how long he's been driving a cab (12 years) and quotes John Lennon : "Life is what happens while you're making other plans." Max tells Vincent something, too: "You lack standard parts that are supposed to be there in most people."

I would have preferred for the movie to end in something other than a chase scene, particularly one involving a subway train, since I've seen about six of those already this summer, but Mann directs it well. And he sets it up with a cat-and-mouse situation in a darkened office, which is very effective; it opens with a touch of " Rear Window " as Max watches what's happening on different floors of an office building.

Cruise and the filmmakers bring a great deal more to his character than we expect in a thriller. What he reveals about Vincent, deliberately and unintentionally, leads up to a final line that is worthy of one of those nihilistic French crime movies from the 1950s. Jamie Foxx's work is a revelation. I've thought of him in terms of comedy (" Booty Call ," "Breakin' all the Rules"), but here he steps into a dramatic lead and is always convincing and involving. Now I'm looking forward to his playing Ray Charles ; before, I wasn't so sure. And observe the way Jada Pinkett Smith sidesteps the conventions of the Meet Cute and brings everyday plausibility to every moment of Annie's first meeting with Max. This is a rare thriller that's as much character study as sound and fury.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Now playing

The Tattooist of Auschwitz

Clint worthington.

Christy Lemire

The Feeling That the Time for Doing Something Has Passed

The People's Joker

Girls State

The Old Oak

Matt zoller seitz, film credits.

Collateral (2004)

Rated R for violence and language

120 minutes

Emilio Rivera as Paco

Jada Pinkett Smith as Annie

Tom Cruise as Vincent

Javier Bardem as Felix

Barry Shabaka Henley as Daniel

Jamie Foxx as Max

Irma P. Hall as Max's mother

Directed by

Michael Mann
Stuart Beattie

Latest blog posts

A Good Reason to Be a Coward: Jim Cummings on The Last Stop in Yuma County

Launch Day for My Book, It's Time To Give a FECK! Book Tour Dates, Tamron Hall Show

Short Films in Focus: Floating Through the Nowhere Stream with Director Luis Grané

The Ross Brothers Made a Road-Trip Movie. They Didn’t Come Back the Same.

Search forums
Men's Style
Classic Menswear
Streetwear and Denim
Preorders, Group Made-to-order, trunk shows, and o
Menswear Advice
Former Affiliate Vendor Threads; a Locked Forum.
Career and job listings in fashion, mens clothing,
Buying and Selling
Discussions of Buy and Sell Items
Social Life, Food & Drink, Travel
Health & Body
Fitness & Exercise
Entertainment, Culture, and Sports
Fine Living, Home, Design & Auto
Business, Careers & Education
General Chat
Current Events, Power and Money
American Trench
AMIDÉ HADELIN
Archibald London
The Armoury
Capra Leather
Crush Store
De Bonne Facture
Drinkwater's Cambridge
eHABERDASHER
Enzo Custom
Exquisite Trimmings
Fils Unique
Gentlemen's Footwear
Grant Stone
House of Huntington
John Elliott
Jonathan Abel
Kirby Allison
Larimars Clothing
Luxire Custom Clothing
Nicks Boots
No Man Walks Alone
Passus shoes
Proper Cloth
Shop the Finest
Skoaktiebolaget
Spier and MacKay
Standard and Strange
Bespoke Shoemaker Szuba
Taylor Stitch
TLB Mallorca
UNI/FORM LA
Vanda Fine Clothing
Wrong Weather
Zam Barrett
Hi, I am the owner and main administrator of Styleforum. If you find the forum useful and fun, please help support it by buying through the posted links on the forum. Our main, very popular sales thread, where the latest and best sales are listed, are posted HERE Purchases made through some of our links earns a commission for the forum and allows us to do the work of maintaining and improving it. Finally, thanks for being a part of this community. We realize that there are many choices today on the internet, and we have all of you to thank for making Styleforum the foremost destination for discussions of menswear.
This site contains affiliate links for which Styleforum may be compensated.

STYLE. COMMUNITY. GREAT CLOTHING.

Bored of counting likes on social networks? At Styleforum, you’ll find rousing discussions that go beyond strings of emojis.

Click Here to join Styleforum's thousands of style enthusiasts today!

Styleforum is supported in part by commission earning affiliate links sitewide. Please support us by using them. You may learn more here .

Tom Cruise "Collateral" suit

Thread starter armscye
Start date Jan 17, 2005
Men's Style

Senior Member

Jan 17, 2005

I'm late to the party but just saw Collateral last night on hotel cable. I seem to recall a thread on the gray minimalist suit he wears-- allegedly the product of an obscure Oriental tailor. The suit has narrow lapels with an unusual gorge, single button front, longish side vents, beltless slacks without side tabs, and a single cuff button that in one scene appeared to have a diagonal-cut buttonhole. The overall effect is sleek and almost machine like-- director Michael Mann seems to have matched the gray dyed color of Cruises's hair, suggesting a metallic killing organism. He uses some motion-control techniques to give Cruise superhuman speed in the nightclub fight and briefcase chase scenes, presumably to underscore this. I'm tempted to have one made (or adapted from a more conventionally cut suit), though I would return the lapel width to a more conventional halfway-to-the-shoulder seam width, possibly with a modest peak or else a fishmouth effect. I'm considering fabric-covered buttons in the suit fabric. The gray color is a question mark-- I'm not gray yet. Opinions? Details?

I thought that Collateral was great. It's one of my all-time favorite movies. I really like what Michael Mann does with his main criminal characters in Collateral(DeNiro) and Heat(Cruise). Both DeNiro and Cruise had sharp-looking suits and unbuttoned white shirts. Maybe Cruise's suit in Collateral was inspired in part by the Conduit Cut suits made by Anthony Sinclair for Sean Connery in the Bond films.

Stylish Dinosaur

What I liked most about the suit was how it looked when TC ran in it. Â It seemed cut for that, like an Olympic sprinter's outfit. I posted this same query somewhere right after I saw the movie. Â I may not have know about SF or AAAC at the time, so I think I posted it on IMDB, the Internet Movie Data Base. Â No one could say much. Â Someone noted that TC's clothes are often made by Gucci or Prada, I forget which...but the style details of the Collateral suit were like nothing sold anywhere, really. I recall a feature story in a newspaper noting that Â Michael Mann is big on telling character through costume, and had or developed TC's suit as if he had had it made in HK where he could specify a very international range of cut and style details that a mere mortal would never think or want to put together. Â The suit is supposed to be located everywhere and nowhere, as TC's character is both geographically and morally. But to answer the question simply, no one could say who made it. Click to expand...

justlurkingthanks

I hope that wasn't the tailor who chased me down the streets of Kowloon demanding that he make me a suit.

I hope that wasn't the tailor who chased me down the streets of Kowloon demanding that he make me a suit. Click to expand...

(stands for Jerk)

I'll try to flip through it and get a screenshot or two tonight if I get a chance.

Okay, here's the link to the suit, a bit bloodstained since it's the final act. Note the odd gorge, loose sleeves, single button. The ever-cryptic forum software tells me the syntax does not match what they want, so you'll have to paste it into a browser. http://movies.yahoo.com/shop?d=....intl=us

Hi, I got curious about the suit, and found a few pics on a german website that give a good (and less bloody) sense of the cut. Look at the middle image found on this link . It shows the suit buttoned, giving you a sense of the low gorge and overall look. The suit looks odd - not like a 'real' suit, but - as armscye says - like some kind of wierd uniform. This Univision link gives a pic that shows the suit's balance.

Distinguished Member

Hi, I got curious about the suit, and found a few pics on a german website that give a good (and less bloody) sense of the cut. Look at the middle image found on this link . It shows the suit buttoned, giving you a sense of the low gorge and overall look. Â The suit looks odd - not like a 'real' suit, but - as armscye says - like some kind of wierd uniform. This Univision Â link gives a pic that shows the suit's balance. Click to expand...

The Conduit cut was very spare in the arms and legs-- unlike the Collateral suit, which definitely has loose arms and legs. By the way, I don't believe Cruise carried anything on the ankle. His H&K USPF 45 ACP (a big gun, by the way, on a relatively small guy) was in a strong side hip holster, with a double magazine pouch on his left hip. The gun in the jazz club scene is an integrally suppressed Ruger Mk II 22LR with an 8-inch barrel, and would probably just have been stuffed in his waistband. The Smith 5906 9mm he carries in the photo whose link I posted is taken from the dead guard at the Federal building. He also has a folding knife in the Benchmade pattern, used to cut Jamie Foxx's zipties off.

Jan 18, 2005

I think part of the look Mann was going for was a suit that looks very, very common place, almost as if it could have been bought off the rack and taken in, thus making the TC character blend even more with everyday surroundings. Alas, the well dressed man in perfect-fitting bespoke is going to get more attention than the guy with the RTW suit that he got on sale at Macy's. Jon.

t shows the suit buttoned, giving you a sense of the low gorge and overall look. Â The suit looks odd - not like a 'real' suit, but - as armscye says - like some kind of wierd uniform. Click to expand...

In Time Out

By the way, I don't believe Cruise carried anything on the ankle. His H&K USPF 45 ACP (a big gun, by the way, on a relatively small guy) was in a strong side hip holster, with a double magazine pouch on his left hip. The gun in the jazz club scene is an integrally suppressed Ruger Mk II 22LR with an 8-inch barrel, and would probably just have been stuffed in his waistband. The Smith 5906 9mm he carries in the photo whose link I posted is taken from the dead guard at the Federal building. He also has a folding knife in the Benchmade pattern, used to cut Jamie Foxx's zipties off. Click to expand...

Classic Menswear Featured products

Drake's - Navy Blue Cotton Corduroy Needlecord Shorts - SALE $190

Latest posts

Dec 31, 2023

audiophilia
Jul 20, 2009

Jul 6, 2011

dieworkwear
Jul 13, 2020

Jul 14, 2016

Similar threads

Mar 3, 2024

prof.contingency
Aug 21, 2021

Sep 17, 2020

Mar 9, 2020
Classic Menswear Classifieds Discussions

Jan 16, 2020

Featured Sponsor

How important is full vs half canvas to you for heavier sport jackets, definitely full canvas only, half canvas is fine, really don't care, depends on fabric, depends on price, forum sponsors, members online.

SneakyTurtle
trancebepopulate
too_poor_for_this
Hombre Secreto
james.darley
Szeph el raton
ramdomthought
Duke Silver
itsmarcnotmark
constant struggle
Fred G. Unn
serbarristan
stevenshwlo

Forum statistics

Follow styleforum on:.

This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register. By continuing to use this site, you are consenting to our use of cookies, our Privacy Policy , and Terms and Conditions . Accept Learn more…

Search Please fill out this field.
Newsletters
Sweepstakes

Tom Cruise rewatch: Collateral turned Hollywood's biggest star into a villain for the ages

A hitman comes to Los Angeles in Michael Mann's crime thriller, which remains a bold outlier in Tom Cruise's filmography.

In advance of this Friday's release of Top Gun: Maverick , our writers return to their favorite Tom Cruise movies, in appreciation of an on-screen persona that's evolved over decades.

What if Tom Cruise was a monster, though? Imagine America's ever-young action boy with gray hair and stubble, breaking into homes and workplaces to shoot bullets into unsuspecting foreheads. He still laughs, but now he's laughing at you. In 2004's Collateral , Cruise plays Vincent, an assassin who rips a bloody gash through a mean Los Angeles night. The villainous casting could be a stunt, but it's more like a culmination, suggesting a soulless efficiency lurking behind all his glistening heroes.

Collateral came at everyone's magic moment. Director Michael Mann was transitioning from glittery celluloid into scuzzy digital video. Recent WB sitcom frontman Jamie Foxx was months from Oscar glory. The new millennium had found Cruise divorced and adventurous, playing three flavors of drug-addled trauma in Vanilla Sky , Minority Report , and The Last Samurai . His new normal was edgy, but also stratospheric. You started expecting him in science-fiction worlds, in historical fictions, in an empty Times Square or a distant mountain peak. Tough to picture him in the back seat of a taxi cab, or at a 24-hour gas station, or in a hospital elevator. He did not seem like someone who took public transportation.

But that's his journey in Collateral , one of the best movies ever made about the multiverse of everyday Los Angeles. Vincent's a hitman from out of town, hired by a drug kingpin to slay five people in one night. He gets into a taxi driven by Max (Foxx), and offers to pay the cabbie big bucks for an all-night fare. It's a plan that shouldn't hold up to scrutiny — why not hire five hitmen to kill everyone simultaneously? — and when a body lands on the taxi, Max the regular-guy cabbie becomes a big problem. But you believe in the capability of Cruise's Vincent: Dressed in a gray suit to match his cigarette-ash hair, he moves definitively, and speaks like he planned out every conversation weeks ago.

Another actor might have played the killer as a robot. Cruise achieves something scarier: a sociopath with some charm. There's a rhythm to Vincent's patter that recalls Magnolia 's manly guru, a lot of catchphrase philosophy: "Now we gotta make the best of it, improvise, adapt to the environment, Darwin, s--- happens, I Ching, whatever man, we gotta roll with it ." When he reveals a tragic backstory and then laughs it off as a bad joke, you're seeing Heath Ledger's Joker four summers ahead of schedule.

Collateral delivers as a glorious gun fest. Cool Cruise is here if you want him: punch-shooting his way through a nightclub, hopping on the back of a moving train. The gray hair isn't real-looking, but I still think he still looks amazing, less silver fox than platinum wolf.

Yet this is also the last great showcase (so far) for Cruise in his quieter moments: thoughtful, amazed, baffled, enraged. Something mystical was going on between Cruise and Foxx inside that taxicab; the fact that both men wound up loving the same woman, Katie Holmes, is a strange postscript. The pairing brings out something different in Cruise. Vincent gets all the heavy lines of nihilism, misfortune-cookie lines the actor delivers like gospel: "Millions of galaxies of hundreds of millions of stars and a speck on one in a blink — that's us. Lost in space." He's explaining why his killing doesn't matter, and why it's cool not to care.

Cruise has played nefarious in other films, but those other baddies always felt like costumes: blond olden-times vampire, baldcapped studio exec. With Vincent, though, Cruise seems to strip himself down. You see Cruise clearly, better than any movie this century. (Literally, too: Mann was officially in his period when the camera got follicle-close to actors' faces.)

Near the end of the movie, Max throws all that semi-Randian patter back at Vincent: "The standard parts that are supposed to be there in people, in you...aren't," he says. The look on Cruise's face is something you've never seen him do, before or since. He looks enraged, burn-it-all-down angry, but also wounded. Vincent knows he's been seen, and he doesn't like it. Notable, too, is that this is the last uncompromised moment for Cruise's fame, before the couch and the "glib" and the South Park episode. In the last 18 years, Cruise has not approached the bleakness of this performance with a thirty-foot pole. Was Collateral confessional, or even a tad prophetic? When Vincent flashes that famous smile, a shiver runs down your spine. The biggest stars make the biggest black holes. I don't know if that's physics, but that's Tom Cruise in Collateral .

Tom Cruise Alley Scene in Collateral is Actually Used in Tactical Handgun Training

While movies are often dramatized to the extent that you’ll never, ever see some of the stuff performed in movies in real life, on occasion a movie can perform a scene so well that real life implications can actually follow. Whether it’s a new car we want to create, a new weapon that comes to light, or even a particular technique we’ve never seen before, movies can be an inspiration for real world scenarios.

Here’s something I found out today. There’s a scene in the movie Collateral where Tom Cruise is being held up in an alley. He is approached by a couple of thugs who have a gun pointed at him. Cruise then uses his signature double tap to the chest and one in the head move. The whole draw and punch takes 1.3 seconds. It was so impressive that this very scene is now used in lessons in tactical handgun training. Not bad Mr. Cruise.

By the way, I’m pretty sure that Tom Cruise looks cooler in the movie Collateral than in any other movie he’s ever been in. I’m pretty sure it’s the white hair but I felt that needed to be said. Also it’s interesting that his name is Vincent. That’s the same name he has in The Color of Money. Did Vincent quit being a pool player to become an assassin?

Anyway, here’s the scene below:

You must be logged in to post a comment.

Aiden Mason

Aiden's been an entertainment freelancer for over 10 years covering movies, television and the occasional comic or video game beat. If it's anything Shawshank Redemption, Seinfeld, or Kevin Bacon game related he's way more interested.

ABBREVIATIONS
BIOGRAPHIES
CALCULATORS
CONVERSIONS
DEFINITIONS

Max: He, he, he fell on the cab. He fell, he fell from up there on the motherf***ing cab. Sh*t. I think he's dead.

Vincent: Good guess.

Max: You killed him?

Vincent: No, I shot him. Bullets and the fall killed him.

Max: I can't drive you around while you're killing folks. It ain't my job!

Vincent: Tonight it is.

Vincent: Okay, look, here's the deal. Man, you were gonna drive me around tonight, never be the wiser, but El Gordo got in front of a window, did his high dive, we're into Plan B. Still breathing? Now we gotta make the best of it, improvise, adapt to the environment, Darwin, sh*t happens, I Ching, whatever man, we gotta roll with it.

Max: I Ching? What are you talking about, man? You threw a man out of a window.

Vincent: I didn't throw him. He *fell*

Max: Well what did he do to you?

Vincent: What?

Max: What did he do to *you*?

Vincent: Nothing. I only met him tonight.

Max: You just met him once and you killed him like that?

Vincent: What? I should only kill people after I get to know them?

Vincent: Slow down!

Max: Shoot me!

Vincent: You OK?

Airport Man: Yeah, I'm fine mate, don't worry about it.

Max: First time in L.A.?

Vincent: No. Tell you the truth, whenever I'm here I can't wait to leave. It's too sprawled out, disconnected. You know? That's me. You like it?

Max: It's my home.

Vincent: 17 million people. This is got to be the fifth biggest economy in the world and nobody knows each other. I read about this guy who gets on the MTA here, dies.

Vincent: Six hours he's riding the subway before anybody notices his corpse doing laps around L.A., people on and off sitting next to him. Nobody notices.

Vincent: Guy gets on the subway and dies. Think anybody'll notice?

Vincent: Lady Macbeth. Leave the seats. The light's green. We're sitting here.

Vincent: You no longer have the cleanest cab in La-La Land. You gotta live with that. * Focus on the job. Drive.

Traffic Cop #2: Hey, is this blood up here on your windshield?

Max: Yeah, uh, yeah. I hit a deer.

Traffic Cop #1: You hit a deer?

Max: Yeah, over on, uh, it was on Slauson.

Traffic Cop #1: A South Central deer?

Fanning: Ramone went through that window, splat. Glass here, then tires rolled over it.

Richard Weidner: Maybe he jumped.

Fanning: Sure. He's depressed, so he jumps four stories out of a window onto his head. "Well, that feels better." He picks himself up. "Now I think I'll go on with the rest of my day."

Daniel: I mean, everybody and their momma knew you don't just come up and talk to Miles Davis. I mean, he may have looked like he was chilling, but he was absorbed. This one hip couple, one of them tried to shake his hand one day. And the guy says, "Hi, my name is..." Miles said, "Get the f*** outta my face, you jive motherf***er, and take your silly b*tch with you."

Pedrosa: What's up? Why do you want to know about our case?

Fanning: Any unusual activity tonight?

Pedrosa: Like what?

Fanning: That relates to a series of murders in Wilshire Central or West Hollywood?

Pedrosa: All quiet on the western front. Various people are asleep. Various people are awake. They come and go in cars, pickups, taxis. Other than that, we watch the air move.

Felix: Do you believe in Santa Claus?

Felix: Nor do I. Nor do I, but my children do. They are still small. But do you know who they like even better than Santa Claus? His helper, Pedro el Negro. Black Peter. There's an old Mexican tale that tells of how Santa Claus got so very busy looking out for the good children that he had to hire some help to look out for the bad children. So he hired Pedro. And Santa Claus gave him a list with all the names of all the bad children. And Pedro would come every night to check them out. And the people, the little kids that were misbehaving, that were not saying their prayers, Pedro would leave a little toy donkey on their window. A little burro. And he would come back, and if the children were still misbehaving, Pedro would take them away, and nobody would ever see them again. Now, if I am being Santa Claus, and you are Pedro, how do you think jolly Santa Claus would feel if one day Pedro came into his office and said, 'I lost the list.' How f***ing furious do you think he will get?

Fanning: According to the cab company's dispatch unit, he's been driving that cab for twelve years.

Pedrosa: So what?

Fanning: So you're telling me the guy walks into a phone booth, and shazam, changes into a meat-eater super assassin? What's he do, squeeze them in between fares?

Max: I'm not taking you to see my mother.

Vincent: Since when was any of this negotiable?

Felix: Now you're here. Why?

Max: I lost my stuff. The list.

Felix: I want you to listen to me real well. Special groups put together the list of dedos.

Max: Dedos?

Felix: Fingers, informants. Signal interceptions with voice-recognition software, surveillance. A very expensive counter-intelligence worked up that list. An important list, wouldn't you say? And you lost it?

Max: Yeah, I'm sorry. Sorry.

Felix: Sorry? 'Sorry' does not put Humpty Dumpty back together again.

Max: The fat man, the penthouse guy, the jazz man. That leaves two.

Felix: Can you finish?

Max: In six years, when have I not?

Vincent: You're alive. I saved you. Do I get any thanks? No. All you can do is clam up. You wanna talk? Tell me to f*** off?

Max: F*** off.

Max: Why didn't you just kill me and get another cab driver?

Vincent: Cause you're good. We're in this together. Fates intertwined. Cosmic Coincidence.

Max: You're full of sh*t.

Vincent: I'm full of sh*t? You're a monument of it. You even bullshitted yourself, all I am is taking out the garbage, killing bad people.

Max: Yeah, well that's what you said.

Vincent: You believed me?

Max: Then what'd they do?

Vincent: How do I know, you know? They all got that 'witness for the prosecution' look to me. Probably some major federal indictment of somebody who majorly does not want to get indicted.

Vincent: There's no good reason, there's no bad reason to live or to die.

Max: Then what are you?

Vincent: I'm indifferent.

Max: What's with you?

Vincent: As in?

Max: As in, if somebody had a gun to your head and said, 'you gotta tell me what's going on with this person over here or I'm gonna kill you. What is driving him? What was he thinking?' You know, you couldn't do it, could you, because they would have to kill your ass 'cause you don't know what anyone else is thinking. I think you're low, my brother. Way low. Like, what were you? One of those institutionalized raised guys? Anybody home? The standard parts that are supposed to be there in people, in you aren't. And why haven't you killed me yet?

Vincent: Of all the cabbies in L.A., I get Max: Sigmund Freud meets Dr. Ruth.

Max: As in if somebody had a gun to your head and said: "You got to tell me what's going on with this person over here or I'm gonna kill you. What is driving him? What was he thinking?" You know, you couldn't do it, could you, because they would have to kill your ass because you don't know what anyone else is thinking. I think you're low, my brother. Way low. Like, what were you? One of those institutionalized raised guys? Anybody home? The standard parts that are supposed to be there in people, in you... aren't. And why haven't you killed me yet?

Vincent: Of all the cabbies in L.A. I get Max: Sigmund Freud meets Dr. Ruth.

Vincent: Well, that was brillant.

Max: Didn't have your seat belt on?

Daniel: Just when I thought you were a cool guy.

Vincent: I am a cool guy, with a job I contracted to do.

Vincent: If you open that trunk, they go inside.

Max: How long have you been doing this? In case anyone asks?

Vincent: About six years in the private sector.

Vincent: Lets go.

Max: Hey, why don't you just take the cab?

Vincent: Take the cab?

Max: Yeah, you take it. I'll - I'll chill. I'll - I'll just chill. They don't even know who's driving these things half the time anyway. They never check or anything. Okay... so... just - just take it. You, me...

Vincent: You promise not to tell anybody right?

Max: Yeah... yeah... yeah... promise.

Vincent: Get in the f***ing car.

Max: I'm sorry.

Felix: Sorry? Sorry does not put humpty dumpty back together again.

Vincent: Yo, homie. Is that my briefcase?

Vincent: Well, that was brilliant...

Vincent: Max, six billion people on the planet, you're getting bent out of shape cause of one fat guy.

Max: Well, who was he?

Vincent: What do you care? Have you ever heard of Rwanda?

Max: Yes, I know Rwanda.

Vincent: Well, tens of thousands killed before sundown. Nobody's killed people that fast since Nagasaki and Hiroshima. Did you bat an eye, Max?

Vincent: Did you join Amnesty International, Oxfam, Save the Whales, Greenpeace, or something? No. I off one fat Angelino and you throw a hissy fit.

Max: Man, I don't know any Rwandans.

Vincent: You don't know the guy in the trunk, either.

Traffic Cop #2: Hey, man, what did you do, have a food fight in here?

Vincent: Max, I do this for a living!

Max: How do you like being a lawyer?

Annie: What are you, psychic?

Max: Little bit. There's the dark pin-stripe suit, elegant, not too flashy, that rules out advertising, plus a top-drawer briefcase that you live out of. And the purse. A Bottega. Anyway, a man gets in my cab with a sword, I figure he's a sushi chef. You: Clarence Darrow.

Vincent: You attract attention, you're going to get people killed who didn't need to be.

Vincent: Most people - same job, same gig, doing the same thing 10 years from now. Us, we don't know what we are doing 10 minutes from now.

Vincent: What's your name?

Vincent: Max. I'm Vincent.

Felix: What do you think?

Max: I think...

Max: I think you should you should tell that guy behind me to put his gun down.

Felix: What?

Max: I said I think you should tell that guy behind me to put his gun down, before I take it and beat his b*tch ass with it.

Max: How did your father die?

Vincent: I killed him. I was twelve.

Vincent: Just kidding. Liver disease.

Annie: Well, how many cabbies do you know get you into an argument to save you money?

Max: If there were two of us I'd have to kill the other one. I don't like competition.

Vincent: I didn't throw him. He fell.

Max: What did he do to you?

Vincent: What? I should only kill people after I get to know them? Max, six billion people on the planet, you're getting bent out of shape cause of one fat guy.

Vincent: Lady Macbeth, we're sitting here and the light's green. Leave the seats.

[A car horn honks behind Max. The car whips around them to get through the intersection]

Max: A**hole!

Vincent: You no longer have the cleanest cab in La-La Land. You gotta live with that. Focus on the job. Drive.

Max: [Max is on the radio dispatch with his boss, Lenny] Yeah, Lenny, what's up? It's me.

Lenny: Just got off the phone with the cops. Desk sergeant called to check if you brought the cab in?

Max: Yeah, so?

Lenny: So, aside from I hate talking to cops, they tell me you crashed the goddamn cab?

Max: No, no, I got crashed into. I didn't...

Lenny: Do I care what, where, why? You're paying.

Vincent: [to Max] It was an accident. You're not liable.

Max: It was an accident. I'm not liable.

Lenny: Bullshit. I'm making you liable. It's coming out of your goddamn pocket.

Vincent: [to Max] You tell him to stick this cab up his fat ass.

Max: I can't do that, that's my boss.

Vincent: So?

Max: I need my job.

Vincent: No, you don't.

Lenny: Still there? I'm talking to you. Max. Max!

Vincent: [over the radio] He's not paying you a damn thing.

Lenny: Who the hell is this?

Vincent: Albert Ricardo, Assistant U.S. Attorney, a passenger in this cab, and I'm reporting you to the DMV.

Lenny: Let's not, oh, let's not get excited.

Vincent: Not get excited? How am I supposed to not get excited? Listen, you try to extort a working man. You know goddamn well your collision policy and general liability umbrella will cover the damages. And what are you trying to pull, you sarcastic prick?

Lenny: Look, I was just trying to...

Vincent: Tell it to him. [to Max] Tell him he's an a**hole. Go ahead.

Max: [to Lenny] You're an a**hole.

Vincent: Tell him he pulls this sh*t again, you're gonna stick this yellow cab up his fat ass.

Max: [to Lenny] And, and next time you pull any sh*t, I'm gonna... I'm gonna have to stick this yellow cab up... up your fat ass.

Vincent: They project onto you their flaws, what they don't like about themselves. I had a father like that.

Max: Mothers are worse.

Vincent: Wouldn't know. My mother died before I remember her.

Max: What about your father?

Vincent: Hated everything I did. Got drunk, beat me up. In and out of foster homes, that kinda thing.

Max: And then?

[Pauses, then laughs]

Vincent: I'm kidding. He died of liver disease.

Max: Well, I'm sorry.

Vincent: No, you're not.

Vincent: Private sector? Six years.

Max: Uh... you get health benefits? Pension...?

Vincent: No, and no paid vacation. Quit stalling, and get in there.

Vincent: [after the nightclub shootout] Only thing that didn't show up is the Polish cavalry.

Vincent: Don't get me cornered. You don't have the trunk space.

Vincent: [after Max destroys his briefcase] All my prep was in there! You are screwing with my work! Let's see what else you can do.

Vincent: Most people, ten years from now, same job, same place, same routine. Everything the same. Just keeping it safe over and over and over. Ten years from now. Man, you don’t know where you’ll be ten minutes from now . . .

Vincent: [aims a handgun at Max] Red light, Max.

Vincent: Get with it. Millions of galaxies of hundreds of millions of stars, and a speck on one in a blink. That's us, lost in space. The cop, you, me... Who notices?

Vincent: [Mockingly] "Someday, someday my dream will come?" One night you'll wake up and you'll discover it never happened. It's all turned around on you, and it never will. Suddenly you are old. It didn't happen, and it never will because you were never going to do it anyway. You'll push it into memory, then zone out in your barcalounger, being hypnotized by daytime TV for the rest of your life. Don't you talk to me about murder. All it ever took was a down payment on a Lincoln Town Car, and that girl... you can't even call that girl. What the f*** are you still doing driving a cab?

Max: [about Vincent] Definitely not from around here.

Max: [after seeing the guy fall on his cab's roof] My man, you all right?

Max: [right before he crashes the cab, to Vincent] Go f*** yourself.

Max: I'm not Vincent, my name is Max! I'm a goddamn cab driver!

Max: If I'm wrong you get an apology, I already used up my free ride for tonight.

Share your thoughts on Collateral's quotes with the community:

Report Comment

We're doing our best to make sure our content is useful, accurate and safe. If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.

You need to be logged in to favorite .

Create a new account.

Your name: * Required

Your email address: * Required

Pick a user name: * Required

Username: * Required

Password: * Required

Forgot your password? Retrieve it

Quote of the Day Today's Quote | Archive

Would you like us to send you a free inspiring quote delivered to your inbox daily.

Please enter your email address:

Use the citation below to add this movie page to your bibliography:

Style: MLA Chicago APA

"Collateral Quotes." Quotes.net. STANDS4 LLC, 2024. Web. 8 May 2024. < https://www.quotes.net/movies/collateral_quotes_2308 >.

Know another quote from Collateral?

Don't let people miss on a great quote from the "collateral" movie - add it here, the web's largest resource for, famous quotes & sayings, a member of the stands4 network.

Hands of Time
Guero Canelo
Shadow on the Sun
Ready Steady Go

Our favorite collection of

Famous movies.

Browse Quotes.net

Are you a quotes master, who said: " sometimes we need to let go of our pride, and just do what others ask of us.".

UPCOMING AIRINGS

Featured movies.

Privacy Policy
Privacy Center
Terms of Use

Movies & TV
Featured Categories
Action & Adventure

Enjoy fast, free delivery, exclusive deals, and award-winning movies & TV shows with Prime Try Prime and start saving today with fast, free delivery

Amazon Prime includes:

Fast, FREE Delivery is available to Prime members. To join, select "Try Amazon Prime and start saving today with Fast, FREE Delivery" below the Add to Cart button.

Cardmembers earn 5% Back at Amazon.com with a Prime Credit Card.
Unlimited Free Two-Day Delivery
Streaming of thousands of movies and TV shows with limited ads on Prime Video.
A Kindle book to borrow for free each month - with no due dates
Listen to over 2 million songs and hundreds of playlists
Unlimited photo storage with anywhere access

Important: Your credit card will NOT be charged when you start your free trial or if you cancel during the trial period. If you're happy with Amazon Prime, do nothing. At the end of the free trial, your membership will automatically upgrade to a monthly membership.

Return this item for free

Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges

Go to your orders and start the return
Select the return method

Image Unavailable

Sorry, this item is not available in
Image not available
To view this video download Flash Player

Prime Video $3.99 — $16.29
Blu-ray $9.85

Purchase options and add-ons

Frequently bought together

Similar items that may deliver to you quickly

From the manufacturer

Paramount provides premium content to audiences across worldwide. We connect with billions of people. Our studios create content for all audiences, across every genre and format, while our networks and brands forge deep connections with the world’s one of the most diverse audiences. In streaming, our differentiated strategy is scaling rapidly across free, broad pay, and premium.

Paramount Pictures Corporation is an American film and television production company and the main namesake division of Paramount Global

Product Description

COLLATERAL - Blu-ray- Hired to kill five witnesses before they can testify against a drug cartel, existential hit man Tom Cruise forces cabbie Jamie Foxx to drive him through Los Angeles as he embarks on his murderous mission. With the LAPD and FBI in hot pursuit, Foxx attempts to save himself and the life of one would-be victim. Intense thriller from director Michael Mann ("Heat") co-stars Jada Pinkett Smith, Mark Ruffalo, Peter Berg. 120 min. Widescreen (Enhanced); Soundtrack: English.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ R (Restricted)
Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 1.83 ounces
Item model number ‏ : ‎ 43381910
Director ‏ : ‎ Michael Mann
Media Format ‏ : ‎ Blu-ray
Run time ‏ : ‎ 1 hour and 59 minutes
Release date ‏ : ‎ January 24, 2017
Actors ‏ : ‎ Jamie Foxx, Mark Ruffalo, Tom Cruise
Dubbed: ‏ : ‎ French, Spanish
Studio ‏ : ‎ Paramount Pictures Home Entertainment
ASIN ‏ : ‎ B01M4M7DAI
Number of discs ‏ : ‎ 1
#97 in Mystery & Thrillers (Movies & TV)
#368 in Drama Blu-ray Discs
#429 in Action & Adventure Blu-ray Discs

Customer reviews

Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.

Reviews with images

Sort reviews by Top reviews Most recent Top reviews

Top reviews from the United States

There was a problem filtering reviews right now. please try again later..

Top reviews from other countries

Amazon Newsletter
About Amazon
Accessibility
Sustainability
Press Center
Investor Relations
Amazon Devices
Amazon Science
Sell on Amazon
Sell apps on Amazon
Supply to Amazon
Protect & Build Your Brand
Become an Affiliate
Become a Delivery Driver
Start a Package Delivery Business
Advertise Your Products
Self-Publish with Us
Become an Amazon Hub Partner
› See More Ways to Make Money
Amazon Visa
Amazon Store Card
Amazon Secured Card
Amazon Business Card
Shop with Points
Credit Card Marketplace
Reload Your Balance
Amazon Currency Converter
Your Account
Your Orders
Shipping Rates & Policies
Amazon Prime
Returns & Replacements
Manage Your Content and Devices
Recalls and Product Safety Alerts
Conditions of Use
Privacy Notice
Consumer Health Data Privacy Disclosure
Your Ads Privacy Choices

What Shoes Does Tom Cruise Wear In Mission Impossible?

If you’ve ever watched the action-packed Mission Impossible movies, you’ve probably noticed Tom Cruise’s impeccable style, from his sleek suits to his stylish footwear. But have you ever wondered, “What shoes does Tom Cruise wear in Mission Impossible?” Well, buckle up because we’re about to dive into the world of Tom Cruise’s footwear choices in this thrilling film franchise!

Tom Cruise is known for his attention to detail, and his choice of shoes is no exception. From high-octane chase scenes to daring stunts, Tom Cruise needs footwear that not only looks good but also provides the necessary support and comfort for his demanding roles. In Mission Impossible, you’ll often catch him sporting a variety of stylish sneakers and boots that perfectly complement his character’s action-packed lifestyle. So, if you’re curious about the specific shoes Tom Cruise wears in Mission Impossible, get ready to be blown away by the stylish kicks that help him conquer impossible missions with ease.

What Shoes Does Tom Cruise Wear in Mission Impossible?

Tom Cruise is known for his iconic role as Ethan Hunt in the Mission Impossible series. Apart from his incredible stunts and charismatic performance, Cruise’s fashion choices have also caught the attention of audiences worldwide. From his stylish suits to his choice of footwear, every detail contributes to his character’s overall image. In this article, we will explore the shoes that Tom Cruise wears in the Mission Impossible movies and the impact they have on his character’s style and persona.

The Importance of Footwear in Film

Footwear plays a significant role in the overall aesthetic of a character in film. It not only complements the actor’s wardrobe but also helps to portray their personality and character traits. The shoes chosen for Tom Cruise’s character, Ethan Hunt, are carefully selected to align with his action-packed lifestyle and professional demeanor. Each pair of shoes serves a purpose, whether it’s for a high-speed chase scene or a daring mission.

The Shoes in Mission Impossible: Ghost Protocol

In the fourth installment of the Mission Impossible series, titled “Ghost Protocol,” Tom Cruise’s character, Ethan Hunt, sports a variety of footwear that perfectly suits his adventurous endeavors. One of the most iconic shoe choices in this film is the black leather dress shoes. These shoes exude sophistication and elegance, reflecting the character’s ability to seamlessly blend into high-profile events while maintaining his covert operations.

Another notable pair of shoes seen in “Ghost Protocol” is the athletic sneakers that Cruise wears during intense action sequences. These sneakers provide comfort, flexibility, and durability, allowing him to perform his own stunts with ease. The choice of athletic footwear adds a touch of realism to the character, emphasizing his physical prowess and agility.

The Shoes in Mission Impossible: Rogue Nation

In “Rogue Nation,” the fifth installment of the Mission Impossible franchise, Tom Cruise’s character showcases a range of footwear that perfectly embodies his role as a skilled and resourceful secret agent. One of the standout shoe choices in this film is the combat boots worn by Cruise during intense combat scenes. These boots offer protection, stability, and grip, enabling him to navigate through challenging terrains and engage in hand-to-hand combat effectively.

Additionally, Cruise’s character is often seen wearing sleek and polished dress shoes during undercover missions and formal events. These shoes not only elevate his overall appearance but also contribute to his ability to blend into various social settings seamlessly. The attention to detail in the shoe selection emphasizes the character’s adaptability and ability to navigate different environments effortlessly.

Tom Cruise’s Shoe Style off the Set

Tom Cruise’s impeccable sense of style extends beyond the Mission Impossible movies. In his personal life, he is often seen wearing a variety of shoe styles that reflect his fashion-forward approach. From casual sneakers to classic loafers, Cruise knows how to make a statement with his footwear choices.

When it comes to formal occasions, Cruise is often spotted in elegant and well-crafted dress shoes. These shoes enhance his refined and sophisticated look, demonstrating his understanding of timeless fashion. Whether attending red carpet events or premieres, Cruise’s shoe selection is always on point, showcasing his attention to detail and dedication to presenting a polished image.

In more casual settings, Cruise opts for comfortable yet stylish sneakers that effortlessly complement his laid-back yet fashionable aesthetic. These sneakers are often paired with jeans or casual trousers, creating a relaxed yet trendy ensemble. Cruise’s ability to effortlessly blend comfort and style in his everyday shoe choices further exemplifies his fashion prowess.

In conclusion, the shoes that Tom Cruise wears in the Mission Impossible movies are carefully selected to enhance his character’s image and personality. From black leather dress shoes to combat boots, each pair serves a specific purpose and contributes to the authenticity of his action-packed role. Additionally, Cruise’s own sense of style extends beyond the film set, showcasing his fashion-forward approach in his personal life. Whether in formal dress shoes or trendy sneakers, Cruise’s shoe choices always make a statement, reflecting his attention to detail and impeccable fashion sense.

Key Takeaways: What Shoes Does Tom Cruise Wear in Mission Impossible?

Tom Cruise often wears custom-made shoes in Mission Impossible.
He prefers shoes with a sleek and stylish design.
The shoes are usually made of high-quality leather.
They are designed to be comfortable and durable for intense action scenes.
Tom Cruise’s character, Ethan Hunt, is known for his impeccable style, and his shoes play a crucial role in his overall look.

Frequently Asked Questions

Find answers to commonly asked questions about the shoes worn by Tom Cruise in the Mission Impossible movies.

1. What type of shoes does Tom Cruise wear in Mission Impossible?

In the Mission Impossible movies, Tom Cruise is often seen wearing a pair of black tactical boots. These boots are designed to provide durability, support, and traction, making them ideal for the action-packed scenes in the films. The specific brand and model of the boots may vary from movie to movie, but they are typically military-style boots that are both functional and stylish.

Tom Cruise’s character, Ethan Hunt, is known for his agility and athleticism, and the boots he wears reflect that. They are sturdy enough to withstand intense physical activity, yet sleek enough to complement his tailored suits during more formal scenes. The boots are an essential part of his character’s iconic look and contribute to the overall aesthetic of the Mission Impossible series.

2. Are the shoes worn by Tom Cruise in Mission Impossible available for purchase?

Yes, many of the shoes worn by Tom Cruise in the Mission Impossible movies are available for purchase. As the movies often feature high-profile brands and collaborations, some of the shoes may be limited edition or collector’s items. However, there are also similar styles and models of tactical boots that can be found in various stores and online retailers.

If you are looking to recreate Tom Cruise’s Mission Impossible style, it is recommended to search for tactical boots that offer a balance of functionality and fashion. Look for boots that provide comfort, durability, and a sleek design. Remember to consider your own personal style and preferences when selecting the perfect pair of shoes.

3. Do the shoes worn by Tom Cruise in Mission Impossible have any special features?

Yes, the shoes worn by Tom Cruise in Mission Impossible often have special features that cater to the demands of his action-packed scenes. These features may include reinforced soles for extra stability and traction, padded ankle collars for comfort and support, and water-resistant materials to keep his feet dry in various environments.

Additionally, some of the boots may have hidden compartments or pockets to store small items or gadgets, which align with the espionage theme of the movies. These special features not only enhance the functionality of the shoes but also add to the intrigue and excitement of Tom Cruise’s character.

4. Are there any specific brands that Tom Cruise prefers for his shoes in Mission Impossible?

Tom Cruise does not have a specific brand preference for his shoes in Mission Impossible. The shoes he wears in the movies are often selected based on their functionality, style, and suitability for the scenes. As a result, a variety of brands may be featured throughout the series.

However, some popular brands known for producing tactical boots that have been worn by Tom Cruise in the movies include Danner, Bates, and Salomon. These brands are known for their quality craftsmanship and ability to provide the necessary support and durability required for intense action sequences.

5. Can I wear the same shoes as Tom Cruise in Mission Impossible for everyday use?

While it is possible to wear the same shoes as Tom Cruise in Mission Impossible for everyday use, it is important to consider your own comfort and style preferences. The shoes worn by Tom Cruise in the movies are designed specifically for his character’s needs, which may not align with everyday activities.

If you are drawn to the style of the shoes worn by Tom Cruise, it is recommended to look for similar styles that offer a balance of functionality and fashion. There are plenty of tactical boots available in the market that provide the durability and support needed for outdoor activities while still being suitable for casual wear. Remember to choose shoes that fit well and cater to your own lifestyle and preferences.

Tom Cruise on Why ‘Mission: Impossible 7’ Is ‘Very SPECIAL’ (Exclusive)

Final Thoughts: Unveiling Tom Cruise’s Iconic Shoe Style in Mission Impossible

When it comes to action-packed movies, Tom Cruise’s Mission Impossible franchise is a fan favorite. Not only are audiences captivated by the thrilling stunts and gripping storyline, but they also find themselves drawn to the impeccable style of the characters. And one question that often arises is, “What shoes does Tom Cruise wear in Mission Impossible?” Well, let’s delve into the world of footwear and uncover the secrets behind Tom Cruise’s iconic shoe choices.

Throughout the Mission Impossible series, Tom Cruise is often seen sporting sleek and stylish sneakers that perfectly complement his action-packed persona. These shoes not only provide the necessary comfort and flexibility for his intense stunts but also add a touch of flair to his character’s overall look. From classic white sneakers to high-performance athletic shoes, Tom Cruise’s shoe choices are a perfect blend of functionality and fashion.

It’s important to note that while we can’t pinpoint the exact brands and models Tom Cruise wears in the movies, we can draw inspiration from his style and choose similar options. Look for sneakers that offer excellent grip, cushioning, and durability, as these qualities are essential for any action-packed adventure. Whether you’re a fan of sleek leather sneakers or prefer the sporty appeal of athletic shoes, finding the right pair can help you channel your inner action hero.

In conclusion, while we may not have the precise details of the shoes Tom Cruise wears in Mission

Share your love

About the author.

Federico Lopez

Related posts, where can i sell my dr martens.

If you’re looking to sell your Dr Martens, there are a few different options available to you. You could try selling them online through websites…

How To Stretch Out Dr Martens?

Stretching out a pair of Dr Martens can be a challenging but rewarding task. It is important to ensure that the boots are stretched correctly…

Are Nike Air Force 1 Good for Wide Feet?

If you’re on the hunt for a new pair of sneakers and have wide feet, you may be wondering if Nike Air Force 1 shoes…

Hey, that Collateral – Tom Cruise with Grey Hair Thing? Yeah, here’s the Trailer.

So, you’ve probably heard about “the Tom Cruise with Grey Hair” movie – which, if I was Tom Cruise would make me kinda mad. — But I’d probably go count my millions to make myself feel better.

The Trailer

The movie’s actually got a name, Collateral , and it actually doesn’t look too bad. Nice Little tune behind it too. I’ll hafta look it up. Michael Mann sits behind the camera here, who’s done a fair amount of respectable work and was also one of the executive producers of “ BADASSSSS! “, which I still haven’t done a write up for.

About John Campea

First Look at Corenswet’s Superman in “Legacy”

Lego Star Wars: Rebuild The Galaxy – Teaser Trailer Revealed

A Maze Runner Reboot Is Happening

Giancarlo Esposito Lands in the MCU!

The Boys Season 4 Drops New Trailer at CCXP México!

8 thoughts on “ hey, that collateral – tom cruise with grey hair thing yeah, here’s the trailer. ”.

the grey hair is actually to show the comparison between the wolf and cruise. As the wolf crosses the road alone in a scene near the end whilst vincent and max r in the cab. The wolf is symbolic of the random situation where vincent is a predator like the wolf, therefore vincent has the grey in his facial and normal hair, also his greyish suit-to look like the predator/hunting wolf alone in a big city

I can’t get past that fabulously phoney gray hair. It’s looks like an eighth grader playing the Stage Manager in Our Town.

A good movie. It takes awhile to get that way, but once Cruise drops the two muggers in the alley in the blink of an eye, we are convinced that this guy is a one-man killing machine. If there’s any doubt, he single-handedly kills his way through a crowded nightclub full of thugs and feds to nail his next to last mark, then walks away as one of the patrons. This cat is cool, one lethal, ruthless mutha who gives no quarter to anyone, except to the “accomplice” hostage cabbie that for some reason he’s taken a liking to. Ironically, his one indulgence in human emotion ends up costing him everything, that instant of hesitation when its one or the other who will survive. One of Cruise’s best roles. “Eyes Wide Shut” was another. Love him or hate him, the guy is a good actor and he fills the shoes of action hero very convincingly. He’s as lethal as James Bond in this movie. What the hell difference does it make what color his hair is? Sheesh.

no, if cruise was attempting to immitate any performance it would be the DENZEL’s Alonzo character from training day that …hmmm …finally won him the academy award for best actor. either way i cant way for this film. it looks awesome. better than training day imo.

Nah, Cruise has already proven his range with films like Magnolia. And from what I’ve read his character in this one is not at all a nice guy. They’re not doing the killer with a heart of gold thing here …

Has anybody else thought that this is Cruise’s attempt to pull off what Tom Hanks did in Road to Perdition? Let me show my range, by playing a killer who is really a nice guy. Not saying that anything is wrong with that, but interesting. I suppose if you are going to copy somebody Hanks is probably a pretty good choice.

If you want specifics, it was filmed with a Viper FilmStream camera at 29.97

Hmm, looking at the Trailer, it looks like it was shot in Digital / 30 FPS…

Image Unavailable

Sorry, this item is not available in
Image not available
To view this video download Flash Player