preguntas frecuentes for
Collateral (2004)

Probably because this would seriously break Max's routine and draw unwanted attention.

As Vincent points out, Max must visit his mother in the hospital, because that is what he does every day. Max not showing up would be noticed, elicit suspicion, and, in the worst case, would cause people to look for Max, which could seriously hinder Vincent's operation. The same applies for the regular calls Max gets on his radio from the cab central, which he has to answer himself.

Part of Vincent's efficient modus operandi is that he keeps as invisible as possible while he is doing his work, and the best way to accomplish that is by remaining anonymous and not drawing attention. The case that Dt. Fanning recalls about the other cab driver who supposedly killed several people and then killed himself, strongly suggests that it was Vincent on an earlier assignment. If it was Vincent, he kept a succesfully low profile. Killing Max before Vincent completes his tour could therefore seriously disrupt Vincent's schedule, so he has to take care that Max keeps doing his normal routine, and not kill him before the end.

"Ready Steady Go (Korean Style)" by Paul Oakenfold.

"Rollin' Crumblin'" by Tom Rothrock.

"Shadow On The Sun" by Audioslave.

"Hands Of Time" by Groove Armada featuring Richie Havens.

PRO:

This is a rare thriller that's as much character study as sound and fury. -- Roger Ebert, Chicago Sun-Times

Collateral is very much the product of a distinct vision, one as eager to push technological limits as to upend the usual studio white-hero/black-villain formula. -- Manhola Dargis, New York Times

MIXED:

Collateral holds up despite its more pedestrian elements. By taking the proposition forwarded in The Brothers Karamazov that if there is no God, everything is permissible and retooling it for a modern setting, it suggests that a Darwinian mind frame leaves no room for sympathy. -- Megan Basham, National Review

Crisp action thriller, well-shot in a digital format on L.A. locations, builds interesting characterizations, then tosses credibility down the drain for the climax. Still quite watchable, with a strong supporting cast backing up the stars. -- Leonard Maltin's 2007 Movie Guide

CON:

The director, Michael Mann, remembers the best of film noir pretty well, but it doesn't protect his film against its ultimate Movieland silliness. -- Stanley Kauffmann, The New Republic

Sources include: movietome