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88This is a rare thriller that's as much character study as sound and fury.
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75Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.
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83Michael Mann's tensely funny and alive Los Angeles night-world thriller, is, in its own twisty way, a very high-stakes buddy movie, yet it doesn't look like one, because it leaps off from a situation more jangled and threatening than we're used to.
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60It's essentially an urban variation on "The Hitcher" (1986) with nothing much going on underneath.
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75Stylish - if predictable - thriller.
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88No crime film in years boasts a cooler vibe than Michael Mann's dazzling Collateral.
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75Collateral is a good idea for a movie, backed up by expert execution... It's straight-up entertainment, not something to see and then talk about a month later, but definitely something to enjoy.
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75Stylishly made, if less intellectually resonant than first-rate Mann films like "Ali" and "The Insider."
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63Preposterous without being much fun about it. That's a shame: How often do you get to see Cruise play a professional assassin with Bill Clinton's hair?
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90As a result of Mann's craftsmanship and concern, Collateral crackles with energy and purpose, a propulsive film with character on its mind and confident men and women on both sides of the camera.
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80If Collateral is all formula, it's polished to a fine sheen.
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75Foxx makes what he does look effortless. He's the reason to see Collateral, as he walks into the frame and walks off with the picture.
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70The best thing Mann brings to his picture is a strong sense of time and place.
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75Collateral is a small, modest movie writ large by people so talented, they aren't capable of anything less.
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75The whole movie is something of a joke, a feature-length prank that mixes stark violence and shock humor in the mold of Quentin Tarantino's "Pulp Fiction." Though it is a far less ambitious entertainment than Tarantino's masterpiece, it has its moments.
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80Occupying a dramatic, philosophical and sensory twilight zone that casts a considerable spell, this intensely focused piece soars not only on the director's precision-tooled style but also on the outstanding interplay between leads Tom Cruise and Jamie Foxx.
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75Really two movies: a taut, terrific, realistic crime drama, and, by the end, an over-the top, high-tech extravaganza which tries to out-Woo John Woo and turn Cruise into another Terminator.
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75The first half is exhilarating, and the rest is a tolerably honourable surrender to Hollywood conventions.
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60If you boil the psychology of Collateral down to its essence, what you get, mostly, is Vincent badgering Max for not having enough chutzpah -- in essence, for not being enough of a tough guy.
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70The movie never really gets below that surface. It sticks to the mean streets of Los Angeles without much introspection or analysis. But those surfaces are slick and beguiling.
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88Shake it all up and you get Collateral, a movie with only one conceivable flaw: its disinclination to break new ground, though no one held that against "The Fugitive" more than a decade of Augusts ago.
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80Pitched between interludes of anxious intimacy and equally nerve-shredding set pieces, Collateral scores its points with underhand precision.
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70Mann's moody Collateral unravels toward the end, faltering at its conclusion but dispensing enough atmosphere, characterization, and world-weary humanism along the way that audiences would be wise to enjoy the ride without worrying too much about the final destination.
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90The best kind of genre filmmaking: It plays by the rules, obeys the traditions and is both familiar and fresh at once.
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83Cruise is a man whose youthful cockiness has aged into self-assurance and cool confidence. It's a masterstroke of casting. The dynamism of Collateral, however, comes from Jamie Foxx.
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70Like "Heat," Collateral will doubtless go down in film history as the noir marvel it undoubtedly is, but I don't quite buy its characters, and I came out of the theater still wondering what it had to say. Me, I have a soft spot for that old ’60s radical.
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50It's too bad that halfway through, Collateral turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action.
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50If only all this wonderful talent wasn't in service to a story that pushes credulity beyond the breaking point, perilously close to the realm of farce. Too many coincidences, too much convenient timing, too little honest plot development.
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80Mann vividly captures the nocturnal pulse of East L.A. in this taut, confined game of cat and mouse. In the homestretch the thrills get too generic and farfetched for their own good. But the first two thirds are a knockout.
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50Collateral is a slim drink of thin beer, remarkable only as evidence that Mann might have a modern masterpiece in him if he were cut loose and allowed to roam around in his own obsessions.
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80Shot by shot, scene by scene, Mann, whose recent work includes “Heat” and "The Insider," may be the best director in Hollywood. Methodical and precise, he analyzes a scene into minute components.
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80As much a dark, odd couple comedy as it is a quirky, efficient little thriller.
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90Most of the time we are with Cruise and Foxx, and their interplay is never less than galvanizing.
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50The director, Michael Mann, remembers the best of film noir pretty well, but it doesn't protect his film against its ultimate Movieland silliness.
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63If there was ever an example of a movie's visual language leaving its verbal and narrative components in the dust, this, unfortunately, is it.
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50Ruffalo makes a dent as a dogged narcotics detective, and the Spanish superstar Javier Bardem appears as a crime boss. Overall, however, Mann seems content to play games with his fast cars, cool streets, and loud rock, leaving Collateral squarely within the action genre.
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50Suffice it to say that Cruise never seems right in this part--never as treacherous as he should be, nor as mysteriously tortured. Foxx has his moments, but there's no room for his trademark humor, and we can never quite get our minds around the idea that the hit man has beguiled the cabbie.
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80Perhaps the best premise for thrills since "Speed," only this time the bad guy’s on board and the battle of wits is more philosophical debate than pop quiz.
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70After a solid hour and a half, the climax almost seems to have come from a different movie. Collateral is still a hell of a ride, but could've used a smoother landing.
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Devolves into a contrived, coincidence-driven, by-the-numbers thriller in its final act. That's not to say the movie's a failure. It's impossible to dismiss a film that starts out as such a sensuous, existential crime story.
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Hugely entertaining thriller.