Collateral 4K 2004 Ultra HD 2160p

The taxi driver becomes an unwitting accomplice in the crimes committed by his passenger, who turns out to be a hired killer. He must save himself and the last victim ...

Collateral 4K Review
Michael Mann's "accomplice" should, in principle, please many. Time is night, just like a boogie style, Los Angeles lanterns on the digital - right Andy Warhol, a classic story about a lone hitman - straight from Samurai, a dramatic conflict between executioner and victim - from Dürrenmatt, which gives the thriller an existential character. Two losers spent a short time in a tight space together, one of whom acted at random and was a killer for six years, the other did not act, but only fantasized, and for twelve years a taxi driver. The taxi driver unwittingly turned five murders, which are part of the passenger's professional duties, into a dozen, thanks to the fact that they were actually sorting out the relationship all the way, and this is deadly now. Who works more, who wins less, who is a coward and who is a fool, who is better to be, and who is to seem. Dialogues on wit - "Open the trunk and they will lie there", "My son does something for his mother only at gunpoint" (script by Stuart Beatty) - in places they are quite comparable with Mann's best thriller "Skirmish".

In general, a movie about life plus "Oscar" ambitions in the form of an instantly paid off budget of 65 million in the absence of a full happy end and an invitation to the project before Mann - Scorsese, Spielberg and Spike Lee, first of Tom Cruise - Russell Crowe and Edward Norton, and formerly Jamie Fox - De Niro and Adam Sandler. Due to the careful selection, Jamie Foxx immediately became a star, Tom Cruise looks great with a gray beaver and finally realizes his eternal ambivalence - like a monster and a strong man. Finally, a brilliant episode was played in a jazz club by Barry Shabaka Henley, and everyone, in general, the rest - Jada Pinkett Smith, Mark Ruffalo, Javier Bardem - are quite in their places. "Accomplice" is quite drawn to the stylish quintessence of topical problems of violence and non-violence, terrorism and anti-terrorism, filmed in the good old public genre. Only spoilers will not go further (there are not many riddles in "Accomplice"), but specific questions about what is now presented as the quintessence that turns stone into gold.
Why the hell is Tom Cruise pre-examining the last prosecutor's office on the list, if he did not examine all the other clients, wetted them on the fly, although a night disco was much more relevant for a preliminary examination, where you can't figure it out on the fly? Just so he could get into Jamie Foxx's taxi, who gave the attorney a lift? Why is there an assistant prosecutor in the drug cartel case on the list, if drug lords need to remove witnesses or, in the worst case, their corrupt drug lawyers?

Who was killed at the time of the search of a taxi with a corpse in the trunk, only so that the police would wash away in time without opening it, even if by the middle of the night, which is emphasized, there were only four fresh corpses in Los Angeles and not one more, while that they were all already strongly subsequent work of Tom Cruise? And fuck, if you have a free minute, go for a walk to a jazz club, talking about the starry sky above us, which has nothing to do with the moral law inside us, instead of throwing a corpse from the trunk into the ocean if you just got with it ? And in general, will the police be so quick to respond to the signal of a dubious alarm if they have already touched a taxi driver with a broken frontal and impudent passenger when the trunk opens in exactly half a second?

Why is Tom Cruise so worried about a trip to the hospital to visit Jamie Foxx's mother, failure of which would supposedly lead to a violation of the status quo and the search for a taxi driver, although he himself just forced a taxi driver to violate any status quo by sending his master for the first time in twelve years, for some reason, absolutely not alarmed? Just to clarify the relationship during a touching trip, and then warn with weight: "You have ten minutes. At the eleventh, I drive to the hospital and take out your sick mother"?

Jamie Foxx that, there is absolutely nowhere to run from the hospital doors, except to a long flyover, where, instead of hiding around the corner, behind the door, pretend to be a mop, can be seen right through for about a hundred meters, and even looks around constantly, stopping in a run , specially to catch up?

What is this pro killer if he calls five addresses of clients, of which three have already been removed, "a lost archive", without which he will not fulfill the order, although the remaining two addresses include one from which it all began, namely the building of the prosecutor's office that even we now recognize in Los Angeles easily? If the whole operation is being sold to us as a "fully prepared third act of the drama", what, all the first two acts, the professional killer had severe amnesia, that he did not learn the pitiful five addresses?

Where did the head of the Los Angeles FBI decide that the main thing now is to immediately kill the killer, if the taxi number has already been calculated and helicopters are hovering over him, and it is perfectly known where it is going - to the night disco? Why did the team of snipers disperse exactly at the disco, among the crowds of innocent people and full of light music, and far away from the witness, whom she did not even protect, although the crowds were not even hostages? Or is it a film about Beslan? Or is it on purpose so that the snipers would take away everyone except Fox and Cruise, who removed a witness, like a child, into such an unusually successful bustle, and quietly faded away with the crowd?

If it is obvious to the child that the taxi has already been calculated, why do they get into it again when there is a whole parked car shop next to the disco? How did a taxi driver with a flashed number manage to get from the slums to the city center without a single road patrol while loitering helicopters?

How did Jamie Foxx, standing at a considerable distance across the flyover again, see at night on the 14th floor of the prosecutor's office not just a black figure, but Tom Cruise in a gray suit? Does he have a telescopic lens instead of eyes? And did Cruz pre-inspect the building just to understand which castle should be hit with a crowbar in order to turn off the electricity on the 16th floor, leaving it on everyone else? Or did Jada Pinkett tell him beforehand that she would be in the library at four in the morning, and not in her office at 14?

Why, when Cruise hooked on to the last subway car and walked through the whole train in search of Fox and Pinkett, they also hid at the next stop and ran out of the last car? Finally, why the hell is Cruz wearing small, but very black glasses all the time at night, which absolutely do not change his appearance, but in every corridor they are striking, like the fabulous cat Basilio?

About injuries, disasters and other inconsistencies, you can already keep silent. But in Hollywood, the half-century progenitor of the "black film", which was harshly inherited by Mean Streets (1973), Bad Lieutenant (1992), Usual Suspects, The / (1995 ) and other masterpieces, it simply cannot be unknown that one or two script exaggerations for the harmony of the plot are forgivable in "black" cases. When in each frame a stretch on a stretch sits and drives a stretch, instead of the quintessence of a thriller, there is a composite hodgepodge. The whole rhythm and drive completely disappear, the most kind of downhole episodes turn out to be boring, professionalism - profanity, humanism - political technology, clarification of relations - stupidity. Initial suspicions are replaced by median irritation, which by the end turns the thriller into a comedy, and after a bullet hits Tom Cruise's earlobe, all that remains is to giggle quietly and caustically comment. Instead of turning a stone into gold, Michael Mann, along with Stuart Beatty, wanted to turn us into round idiots. Here it is, the issue - everything is in place, only everything is set up and not that.
When humanity became stupid, it first of all ceased to be humanity, leaving one light bulb of Pavlov's dog to correspond. The light is on - a thriller for the whole pack, an Oscar for the crew. But, probably, we have been lying here all the last time too much to be able to deceive at least once. "Accomplice" is as much a fake for life as TV reports from Beslan - under the testimony of eyewitnesses.

Info Blu-ray
Video
Codec: HEVC / H.265 (55.15 Mbps)
Resolution: Upscaled 4K (2160p)
HDR: Dolby Vision, HDR10
Original aspect ratio: 2.39:1

Audio
English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
English: Dolby Digital 5.1 (640 kb/s)

Subtitles
English SDH, French, German.