Collateral 4K 2004 Ultra HD 2160p

Story Movie

A taxi driver finds himself in the position of a hostage when a hired killer gets into his car, forcing him to wind kilometers through Los Angeles at night from one victim to another. You need to save yourself and the last target of the killer ...

Review 4K Movie

He left his taxi fleet, as it seems to be an ordinary, everyday day, which did not bode well for trouble or any unexpected events. Ordinary passengers from quarreling couples to a young female attorney, in a word, a typical working day for a taxi driver. He was ordinary until a mysterious stranger in a gray suit got into the car with him.

Two heroes and five places they need to visit per night. Vincent (Tom Cruise) is a charismatic and confident, cold-blooded and ruthless killer who can kill anyone who gets in his way and then dissolve into the crowd. Lives by the principle: “Life is short, one day it will end”. Max (Jamie Foxx) is a modest and shy taxi driver who dreams of starting his own business, but has been working as a driver for twelve years.

Fate brought them together, despite the fact that Vincent had practically got into another taxi, but apparently nothing happens in this life just like that. Working tonight according to Vincent's principle: “You drive a taxi, I pay visits” and this crazy night begins for Max's unwitting accomplice, after which he will be transformed beyond recognition.

The director presents to the viewer a really high-quality work, with a stunning atmosphere of unquenchable tension reaching its peak by the end of the picture. And it seems that the beginning of the picture will be unhurried, but closer to the middle, the plot of the picture will accelerate to a decent level of some modern multimillion-dollar blockbuster.

The only difference will be that the spectacle in “Accomplice” will not be built on numerous explosions, destruction and shooting, but on the dynamics and impetuosity of what is happening, the constant change of places, the cool acting of the actors and in one of the main characters of the film, the City.

Yes, again, as in Skirmish and Miami Police, Mannov's city is one of the heroes of the picture. This is a kind of living organism, this is how the director depicts it to us. I don’t remember that any of the modern directors with such love and trepidation showed all the beauty and brightness in this case of nighttime Los Angeles. He is beautiful and handsome, mysterious and charming. Mann fantastically conveys the atmosphere of the night city, all of its romance and beauty. Fascinating footage of the lights of a multimillion-dollar metropolis, crowded roads and highways, incredibly beautiful buildings and skyscrapers.

Thanks to the unusual camera work, the use of a digital video camera and his own experience, the director knows exactly how to correctly present and show all this to the viewer. Considering that Michael Mann himself has repeatedly confessed his love for digital technologies and has long been experimenting with the picture in his films, playing with color and light, the director achieves a greater reality of what is happening on the screen so that the viewer can feel like a direct participant in the film, and not watch to him as to another cheap performance.

On the other hand, as an experienced master of his craft, Mann plays in contrast, opposing all the brightness and beauty of the city to its problems and the abomination that is happening on its streets.

Justice should triumph, which is why when Vincent, without flinching, destroys the bandits who took his case, we do not think about pity for the murdered criminals and the fact that there was a murder, and Cruz's hero in this situation seems to be like a good guy.

And judging by the zero reaction of the city, no one cares, no one cares about the killed. And the director continues to show and very skillfully play around the problems of a large overpopulated city, in which everyone is on his own and for himself. In view of this, the true and very sad story about the guy who died in the subway is certainly not surprising.

“People here do not care about each other. Then the man went down to the subway and died. I rode for six hours, while someone noticed, the corpse was winding circles around Los Angeles, people came in, no one noticed ... ”.

The “Accomplice”, of course, has something in common with the same “Skirmish”, and it's not even about the presentation of the material to the viewer, but about what the director wants to convey to this very viewer. There is no such vivid opposition of heroes as Pacino / De Niro, but the idea is essentially the same. The theme of loneliness on the example of the confrontation between the dreamer Max and the realist Vincent. Two completely different heroes, located on different sides, but turned out to be not as different as they seemed. And at the end of the fight, as expected, one must die.

Knowing the style and manner of Michael Mann's work, we can safely say that “Collateral” is far from a stupid movie, with an interesting philosophical thought, and at the same time the movie is incredibly interesting, tense and dynamic. We can only regret that the director makes films so rarely.

Shots fired, he did not immediately notice that he was hit. He got into an empty subway car at five in the morning and died.