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Take a cab ride with Max. Garrulous in good company, yet discrete. He’s self-effacing, compassionate, intuitive and adaptable. Silver-haired and silver-suited Vincent’s persona is that of the high-powered businessman. He’s visibly focussed, driven, sharp and articulate. But look more closely and you might notice something slightly different about him. Spitting out words laced with venom and acting in a fashion that only a man in total control can. Director Michael Mann allows us quality time with his characters in what is an intentionally unhurried and sensual opening sequence. And they’re characters that writer Stuart Beattie has made the effort to paint in full colour. The cinematography is awesome. The City of Angels is shrouded in night, brought to life only by vibrant neon-technicolour, and it looks fantastic. Whilst James Newton Howard’s score is also especially effective, helping to make the tension almost unbearable at times. Cruise and Foxx both produce bravura performances. Cruise, as comfortable with darkly comic scenes as with the nuances of a remorseless killer. Foxx, expertly allowing the audience to trace the change in his character as the narrative progresses. Explanations are dispensed with and the characters are shown as they are now so we never get bogged down in back-stories. And the pacing, of what is a 120-minute film, is superb as it constantly builds momentum. Michael Mann films continue to be a real draw. Just like a good jazz piece he improvises, plays unexpected off-notes and keeps his audience guessing. Collateral is one of his finest.