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The Fever nightclub

Bill Simmons: The opening cab ride combines Groove Armada, an implausibly empty 105, chemistry, and a rare narcotic feeling of effortless Los Angeles motion.

Bill Simmons: The corpse falling onto the cab is a terrifying first-viewing shock, followed by Cruise’s calm calculation, Max’s panic, and the darkly comic distinction that the fall killed him.

The film

Collateral (2004)

Directed by Michael Mann · Action

120 minutes

Cast

Selected cast credits · Film reference

Tom Cruise Vincent
Jamie Foxx Max Durocher
Jada Pinkett Smith Annie Farrell
Mark Ruffalo Detective Ray Fanning
Peter Berg Detective Richard Weidner
Bruce McGill Frank Pedrosa
Irma P. Hall Ida Durocher
Barry Shabaka Henley Daniel Baker
Richard T. Jones Traffic Cop #1
Klea Scott Fed #1

Everything from the episode

In the order the hosts got to it. Open a row for the discussion.

36:15

Roger Ebert's review

In the discussion (1)
Approx. transcript time · 00:36:15Read transcript
  • The panel endorses Ebert’s short-film observation because each stop acts like a distinct episode in the night. — Chris Ryan
38:02

Most Rewatchable Scene

The Fever nightclub

The Fever nightclub

In the discussion (7)
Approx. transcript time · 00:38:02Read transcript
  • The opening cab ride combines Groove Armada, an implausibly empty 105, chemistry, and a rare narcotic feeling of effortless Los Angeles motion. — Bill Simmons
  • The corpse falling onto the cab is a terrifying first-viewing shock, followed by Cruise’s calm calculation, Max’s panic, and the darkly comic distinction that the fall killed him. — Bill Simmons
  • Vincent’s rapid two-chest-one-head recovery of his briefcase establishes his practiced violence. — Bill Simmons
  • Daniel’s Miles Davis story lets Max briefly forget his peril before Vincent kills Daniel, with Barry Shabaka Henley’s expression selling the reversal. — Bill Simmons
  • Bardem controls a tiny role as Felix, while Max implausibly but compellingly learns to impersonate Vincent under pressure. — Bill Simmons
  • The Fever sequence uses hundreds of repeating extras, physical choreography, and Ruffalo’s abrupt death to produce the clear final choice. — Bill Simmons
  • Annie’s dark office pursuit and the subway death use darkness and sound to complete Mann’s preferred confrontation between paired professionals. — Bill Simmons
50:00

What’s Aged the Best?

Cruise’s white-haired villain, the film’s digital-night look, the coyote, the cab setting, Statham’s cameo, and the s...

Cruise’s white-haired villain, the film’s digital-night look, the coyote, the cab setting, Statham’s cameo, and the supporting-world possibilities

In the discussion (5)
Approx. transcript time · 00:50:00Read transcript
  • Cruise’s sharklike evil look and trained gun technique remain among his best work. — Bill Simmons
  • A cab, dispatch system, and clean dedicated interior create intimacy that an ordinary rideshare vehicle would not reproduce. — Bill Simmons
  • Jason Statham’s brief airport exchange raises an unresolved Transporter-universe possibility and demand for side-character episodes. — Bill Simmons
  • The unscripted coyote crossing is read through the reported bad-omen meaning attached to a traveler’s path. — Bill Simmons
  • Digital photography that disoriented contemporary viewers now looks singular and current, while the performances stay restrained. — Bill Simmons
54:34

What’s Aged the Worst?

The hospital slowdown, Annie’s route, Pete Berg’s sleepy part, Ruffalo’s goatee and slicked hair, and Max’s instant c...

The hospital slowdown, Annie’s route, Pete Berg’s sleepy part, Ruffalo’s goatee and slicked hair, and Max’s instant confidence before Felix

In the discussion (5)
Approx. transcript time · 00:54:34Read transcript
  • The stretch between Daniel’s club and Fever loses momentum around the hospital. — Bill Simmons
  • Annie’s proposed route through La Brea and Sixth is challenged as a large loop rather than a useful shortcut. — Bill Simmons
  • Pete Berg’s character is reduced to tiredness, skepticism, and apparent reluctance to leave bed. — Chris Ryan
  • Ruffalo’s dated goatee-and-slicked-hair combination distracts from a performance that otherwise recalls his edgier early career. — Chris Ryan
  • Max becomes implausibly adept at manipulating Felix and a room of armed men despite his terror shortly before. — Bill Simmons
59:35

Casting What-Ifs

Russell Crowe as Vincent; Adam Sandler as Max and Edward Norton in either lead (uncertain); Val Kilmer as Fanning

Russell Crowe as Vincent; Adam Sandler as Max and Edward Norton in either lead (uncertain); Val Kilmer as Fanning

In the discussion (5)
Approx. transcript time · 00:59:35Read transcript
1:03:03

The Joey Pants “That Guy” Award

Barry Shabaka Henley

Barry Shabaka Henley

In the discussion (2)
Approx. transcript time · 01:03:03Read transcript
  • The hosts consider renaming the whole award for McGill but decide he may be too recognizable as himself. — Bill Simmons
  • Statham is excluded because he is already a star rather than a That Guy. — Bill Simmons
1:04:04

The Ruffalo / Hanna / Rubinek / Partridge Overacting Award

Cruise’s “notes behind the notes” intensity in Daniel’s jazz club

Cruise’s “notes behind the notes” intensity in Daniel’s jazz club

In the discussion (1)
Approx. transcript time · 01:04:04Read transcript
  • Ruffalo’s facial hair is jokingly proposed as overacting even while his actual performance is praised. — Chris Ryan
1:04:48

Pete Berg Award for Underacting, a.k.a. the Ambien Award for the Sleepiest Actor

Pete Berg

Pete Berg

In the discussion (1)
Approx. transcript time · 01:04:48Read transcript
  • The category is invented in the moment specifically for Berg’s tired detective. — Bill Simmons
1:05:11

The Dion Waiters Award for Best Heat Check Performance

Javier Bardem

Javier Bardem

In the discussion (1)
Approx. transcript time · 01:05:11Read transcript
1:05:42

Half-Assed Internet Research

Stuart Beattie’s teenage cab-ride premise, Mann’s character biographies, and Vincent’s sixteen kills

Stuart Beattie’s teenage cab-ride premise, Mann’s character biographies, and Vincent’s sixteen kills

In the discussion (3)
Approx. transcript time · 01:05:42Read transcript
  • Beattie reportedly conceived a calm killer behind an unsuspecting cab driver while riding home from Sydney airport at seventeen. — Bill Simmons
  • Mann wrote unseen background documents so the actors could answer questions about Vincent and Max’s earlier lives. — Bill Simmons
  • The hosts count sixteen people killed by Vincent. — Bill Simmons
1:07:17

Apex Mountain

The unusually clear 105 freeway and possibly pre-L.A.-Live Los Angeles are the only plausible apexes; none of the pri...

The unusually clear 105 freeway and possibly pre-L.A.-Live Los Angeles are the only plausible apexes; none of the principal artists peak here.

In the discussion (2)
Approx. transcript time · 01:07:17Read transcript
  • Fox peaks later with Ray, and Cruise, Mann, Ruffalo, Bardem, and Jada all have stronger power or performance cases elsewhere. — Chris Ryan
  • The empty 105 wins the joke apex because it has never looked clearer. — Bill Simmons
1:08:23

Picking Nits

The surviving cab, jazz expertise, open-air double murder, empty station, travel-time certainty, and implausibly unus...

The surviving cab, jazz expertise, open-air double murder, empty station, travel-time certainty, and implausibly unused freeway bridges

In the discussion (5)
Approx. transcript time · 01:08:23Read transcript
  • A body falling four floors should cave in the cab roof and prevent a full night of driving. — Bill Simmons
  • Vincent may know Miles Davis history because he prepared for Daniel, but the breadth of his jazz fluency still feels tailored to the scene. — Chris Ryan
  • Two loud close-range killings near Santa Monica should cause more attention than the easy escape suggests. — Chris Ryan
  • The operating train station has no staff or other people, and Max treats Los Angeles drive estimates as exact despite traffic variability. — Chris Ryan
  • The film uses pedestrian freeway bridges that the hosts have never seen Angelenos use outside action movies. — Bill Simmons
1:10:40

The Neil McCauley “A Book about Metals” Award for Best Line from the Movie

“We got to make the best of it. Improvise. Adapt to the environment. Darwin. Shit happens. I Ching. Whatever, man. We...

“We got to make the best of it. Improvise. Adapt to the environment. Darwin. Shit happens. I Ching. Whatever, man. We got to roll with it”

In the discussion (2)
Approx. transcript time · 01:10:40Read transcript
  • “Don’t get me cornered,” “you don’t have the trunk space,” the Amnesty/Oxfam/Greenpeace exchange, and Vincent’s warning about dying in a recliner are preserved alternatives. — Chris Ryan
  • The recliner speech states the film’s life lesson: Max needs a violent jolt to stop planning and start his limo business. — Chris Ryan
1:12:04

Sequel, Prequel, Limited Series, or All-Black Remake

A ten-episode adaptation

A ten-episode adaptation

In the discussion (1)
Approx. transcript time · 01:12:04Read transcript
  • The side-character world already discussed makes the expansion feel natural despite the original story’s compactness. — Bill Simmons
1:12:19

Probably Unanswerable Questions

How Felix’s case proceeds, why a major witness visits Fever, whether Max and Vincent should switch roles, and why Man...

How Felix’s case proceeds, why a major witness visits Fever, whether Max and Vincent should switch roles, and why Mann repeatedly names characters Vincent

In the discussion (4)
Approx. transcript time · 01:12:19Read transcript
  • With most witnesses dead and Annie alive, the panel is unsure whether Felix faces a mistrial, a retrial, or a viable prosecution. — Bill Simmons
  • A key witness going to a crowded nightclub instead of witness protection exposes the prosecution’s weak security. — Chris Ryan
  • Switching Foxx and Cruise is judged worse but intriguing; a Gosling and Michael B. Jordan remake is another hypothetical. — Bill Simmons
  • Mann’s repeated use of Vincent, including in Heat, remains unexplained. — Bill Simmons
1:14:04

Who Won the Movie?

Tom Cruise

Tom Cruise

In the discussion (2)
Approx. transcript time · 01:14:04Read transcript
  • Michael Mann is the strongest alternative, with Foxx assigned the notional third star. — Bill Simmons
  • Cruise’s villain performance wins both audible choices and is framed as the end of one version of his career before it changes the following year; no additional panel vote is inferred. — Bill Simmons
Podcast choices
Speaker not identified
Tom Cruise
Speaker not identified
Tom Cruise

More from the conversation

The opening frames Collateral as a compact, initially disappointing slow burn that became more rewarding on cable; its uneasy hero and villain roles resist conventional studio notes.
Approx. transcript time · 00:01:38Read transcript
Michael Mann’s use of digital cameras, magenta night sky, sound, repeated takes, lonely professionals, and a road-movie structure turns unfamiliar downtown Los Angeles into the film’s central atmosphere.
Approx. transcript time · 00:08:20Read transcript
The hosts connect Los Angeles isolation and driving to the story, review Jamie Foxx’s extraordinary 2004 and later choices, and place Cruise’s controlled villain performance near his peak.
Approx. transcript time · 00:19:07Read transcript
A fifteen-years-later Oscars review argues Collateral and Cruise deserved best-picture and best-actor nominations in an unusually weak 2004 field.
Approx. transcript time · 00:32:19Read transcript