Collateral (film)
| Collateral | |
|---|---|
.jpg) Collateral Theatrical Poster | |
| Directed by | Michael Mann |
| Written by | Stuart Beattie Michael Mann (uncredited) Frank Darabont (uncredited) |
| Produced by | Michael Mann Julie Richardson |
| Starring | Tom Cruise Jamie Foxx Mark Ruffalo Jada Pinkett Smith |
| Cinematography | Dion Beebe |
| Edited by | Jim Miller Paul Rubell |
| Music by | James Newton Howard |
| Distributed by | - USA - DreamWorks SKG - non-USA - Paramount Pictures |
Release dates | August 6, 2004 |
Running time | 119 minutes |
| Country | USA  |
| Languages | English Spanish |
| Budget | -Production- 65 million USD -Marketing- 40 million USD |
Collateral is a 2004 Academy Award-nominated Dreamworks SKG/Paramount Pictures American drama/thriller/crime film directed by Michael Mann and written by Stuart Beattie, with un-credited rewrites by Mann and Frank Darabont.
The movie enjoyed financial success but had a mixed reception from critics. Stephanie Zacharek says on Salon.com that "after (a) promising start, "Collateral" ratchets down, gradually, to being only average" [1]; "the dialogue" writes David Edelstein in Slate, "is fairly ludicrous, the plotting nonsensical... but the first part of Collateral is magical anyway— the wittiest one-half-of-a-thriller I've seen in years". But he continues that halfway through, it "turns into a series of loud, chaotic, over-the-top action set pieces in which the existentialist Mann proves he's lousy at action" [2]; CNN's Paul Clinton describes the film as "a suspense thriller with little real suspense and few thrills" [3].
Completing the critical assessment of the film's dual personality, Premiere's Glenn Kenny thinks that "if there was ever an example of a movie's visual language leaving its verbal and narrative components in the dust, this, unfortunately, is it" [4], whilst Pam Grady argues on Reel.com that if the film "were to be judged on style points alone, it would be one of the top 10 movies of the year.... but style cannot stand alone, it exists to support the story and the characters and it is on those levels that Collateral falls miserably short", concluding that "Mann and Beattie aren't content to settle for a psychological thriller, they want their action, too, and that's where the movie begins to go completely awry" [5]. Frank Swietek sums it all up wittily on One Guy's Opinion: "While engaging the senses, it starves the brain" [6].
Although it has some minor criticisms, Collateral still boasts an 86% positive rating on Rotten Tomatoes, indicating that the majority of film critics who submitted reviews enjoyed the film.
The film is noticeable due to the rare villainous role Tom Cruise plays. Both followers of Michael Mann and of Tom Cruise have considered it to be a good film.[citation needed] There was substantial praise for the performance of Jamie Foxx, including a Best Supporting Actor Academy Award nomination.
The movie takes place in Los Angeles though the original screenplay set the story in New York City. Collateral is also the first major motion picture to be shot with the Viper FilmStream High-Definition Camera.
Plot summary
A nihilistic, erudite hitman, Vincent (Tom Cruise) uses a taxicab to carry out a series of contract hits in a single night in Los Angeles. The unlucky taxi driver is Max Durocher (Jamie Foxx), who quickly learns what his passenger is up to when Vincent's first hit lands on the roof of the taxi. Max's situation then turns into a tense series of escape attempts and desperate pleas. Eventually Max accepts that he can't argue with Vincent and resentfully carries him around the city, clearly horrified at what he is in effect assisting.
Eventually, Max realizes that the marks are key witnesses for the prosecution in a court case against an organized crime boss. Max must find a way to save himself and the one last victim (Jada Pinkett Smith) while a police detective (Mark Ruffalo) is hot on Vincent's trail.
Featured cast
| Actor | Role |
|---|---|
| Javier Bardem | Felix |
| Peter Berg | Richard Weidner |
| Tom Cruise | Vincent |
| Bodhi Elfman | Young Professional Man |
| Jamie Foxx | Max |
| Irma P. Hall | Ida |
| Barry Shabaka Henley | Daniel |
| Richard T. Jones | Traffic Cop #1 |
| Debi Mazar | Young Professional Woman |
| Jamie McBride | Traffic Cop #2 |
| Bruce McGill | Pedrosa |
| Emilio Rivera | Paco |
| Mark Ruffalo | Fanning |
| Klea Scott | Fed #1 |
| Jada Pinkett Smith | Annie |
| Jason Statham | Airport Man |
Synopsis
 | This article's plot summary may be too long or excessively detailed. |
Max (Jamie Foxx) is a cabbie in LA; he strives to be the best. He has had the job for twelve years. Max has dreams of starting a limo company in his head, but they’re just dreams. One day he picks up a prosecuting attorney Annie Farrell (Jada Pinkett Smith), they talk, and in the end when she leaves the cab, she gives him her business card and asks him to call her sometime "To argue cab routes".
As Max is staring at the card in amazement, a non-descript man, Vincent (Tom Cruise), hails Max's cab. Initially, Vincent gets no response from Max, and starts to move to the next in line cab behind Max's. Ironically, Max realizes that he just missed out on a fare, and coaxes Vincent to return to the cab. After getting Vincent's destination and quoting a "time" as he did with Annie, Max makes the typical Cabbie small-talk with Vincent, who tells him that it's not his first time in L.A., and that every time he's here he can't wait to leave. Vincent continues to explain how sprawled out and disconnected the City of Los Angeles feels to visitors. When asked if he agreed with that statement, Max simply says "It's home". Vincent continues the dialogue with a short story; "I read about this guy who gets on the MTA here, dies. Six hours he's riding the subway before anybody notices his corpse doing laps around L.A., people on and off sitting next to him. Nobody notices.". Max gets him to his destination in time. Vincent admires Max's precision and attention to detail, subsequently asking him to be his driver for the entire night, taking him to four more "appointments" and then back to the LAX for a departing flight. Max shows hesitation at first saying that it's against the taxi company's regulations, but accepts after Vincent offers him $600 for the night and an extra $100 "if you get me to LAX and I don't have to run for the plane." Since this is almost twice as much as Max makes in one shift, he has little choice but to agree. Max waits for him to return in an alley behind the building.
Next, Max unwraps his submarine sandwich and starts to eat it. In an instant, a body smashes on the roof of the cab. Max is stunned, throwing his sandwich and spreading its ingredients all over the front seat of the cab he keeps so clean. He looks up at where the body came from and then down again to see Vincent standing near the trunk of the car. Vincent has a noticeably tense demeanor, looking around for any signs of attention, but also disgusted at his lack of good fortune. Adding up the chain of events, Max asks, “You killed him?”, Vincent responds, “No, I shot him. Bullets and the fall killed him.” Max begins to panic and back away, until Vincent raises his gun in order to force Max into helping him put the dead body in the cab's trunk. After quite a bit of coaxing, Vincent takes Max hostage and forces him to continue his job of chauffering Vincent around L.A. for the remainder of his contract hits. Max continues to freak out even while driving, and Vincent's nihilistic beliefs become even more evident. As Vincent says "I off one fat Angeleno and you throw a hissy fit."
The next thing Max knows, the flashing blue and red lights of an LAPD cruiser are in his rear view mirror. They pull Max over because of his broken windshield. A slightly comedic exchange ensues, when the cop sees blood on the windshield and asks how it got there. Max says he hit a deer. The cop asks where. Max says "Somewhere over by Slauson." The cop counters "A South Central deer?" The cops expect to impound the taxi, and take an inventory of its contents before the tow truck takes it away. Vincent warns Max: "Don't let me get cornered, because you don't have the trunk space." Luckily for the cops, they are called away for an officer-in-distress before they open the trunk of the cab, but not before they warn Max to take the cab immediately back to the depot.
Max and Vincent continue on. At the next hit, Max parks in a back alley at 7565 Fountain in West Hollywood. Vincent uses zip-ties to hold Max's hands to the steering wheel of the cab. Once Vincent departs to make the hit, Max honks the horn and taps the brake pedal in hopes of catching the attention of someone on the street. Furthering his bad luck this night, the attention Max attracts is from local gang members, who summarily rob him of his wallet and steal Vincent's briefcase from the back seat of the cab. Vincent reappears with excellent timing, noticing that the gang bangers have stolen his briefcase. He confronts the gang banger carrying his briefcase, who pulls a gun on Vincent, surely not knowing he is dealing with a contract killer. Vincent summarily disposes of the gang bangers in two swift motions, using a textbook Mozambique Drill, double tap to the sternum, one to the head.
The next hit is a jazz musician. Although, this time, Vincent decides to include Max in the hit. They both enter a jazz club, as Daniel, the owner of the club is on stage playing Miles Davis' Spanish Key. Vincent asks a waitress to invite Daniel over for a drink after his set. Daniel obliges. Vincent engages him in a conversation about jazz, seeming to be geniuinely interested, especially after Daniel tells a story about Miles Davis coming into his club one night. Vincent loves the story, and vows to relay the story to "the folks in Culiacan and Cartagena." Daniel immediately freezes, realizing exactly what Vincent is and what is happening. At Max's behest, Vincent agrees to allow Daniel to escape if he can answer a jazz question correctly. Daniel answers the question partially correct, but misses a crucial part, and without wasting another moment, Vincent executes him with three swift shots to the head out of a pistol with a barrel silencer.
At this time, a call over the radio informs Max and Vincent that Max's mother has been trying to reach him, calling the cab company every 10 minutes; Max visits his ailing mother in the hospital every night. At first, Max tries to blow the meeting off, but Vincent insists that they make the rendezvous, to lessen the chance that Max's situation is discovered, and to have more leverage against him (Vincent later threatens to kill Max's mother before leaving town). They make the visit - and even share the elevator with LAPD Detective Fanning, who is visiting the coroner while investigating one of Vincent's murders. Vincent discovers that Max has been lying to his mother, who believes that her son actually owns a limo service and that Vincent is one of Max's "high-profile" clients.
While Vincent amiably chats with Max's mother, Max steals Vincent's briefcase and makes a run for it. He makes it to an overpass with traffic on Interstate 5 flying beneath them. Cornered, Max panics yet again and flings the case over the chain link fence and down into the Interstate. An 18-wheeled truck runs directly over the bag, destroying the laptop Vincent had been using to track his scheduled hits. An enraged and surprised Vincent then forces Max to the ground, about to kill him..."You are screwing...with my work!"
It occurs to Vincent that it took some guts for Max to do what he did. Vincent wants to see just how much more Max has in him. Therefore, he and Max will go to meet Felix, the cartel kingpin in Los Angeles who hired Vincent and arranged the files on the hits. Later, we find out Felix is under a federal drug trafficking indictment.
Detective Fanning, after investigating the disappearance of the first of Vincent's victims, arrives at the hospital morgue to see if any bodies resembling the "fat angeleno" have shown up. Nothing so far. But, the coroner notices that three recently arrived bodies all look to be killed by the same manner, Vincent's familiar Mozambique Drill. Two of the bodies are the street thugs who tried to rob Vincent and Max. The third body is Vincent's second victim, the lawyer-turned-criminal. Fanning notices that the lawyer is one of the men scheduled to testify against Felix in court the following day. Fanning leaves the morgue trying to fit the pieces of the puzzle together.
Vincent and Max arrive at a Mexican cowboy club to meet with Felix and to get replacement files. Vincent doesn't want his identity or appearance to be revealed to even his employers, so he forces Max to enter in his place and pretend to be him. Unbeknownst to both Felix and Vincent, the club is under surveillance by the FBI. Detective Fanning has arrived at the FBI stakeout and notices Max's wrecked cab on one of the surveillance cameras, and the law enforcement officials believe Max to be the hitman and that he is driving alone. Fanning informs the FBI that one of their witnesses has disappeared and the other was found shot to death. The FBI and LAPD agree that someone is taking out witnesses for the case against Felix.
Max gains entrance to the club after convincing the bodyguards out front that he is legitimate. The imposing bodyguards are all wearing body armor and SWAT team outfits, are carrying SMG's, and have communication devices similar to the Secret Service Presidential Protection Unit. One of the guards escorts Max to the back of the club, where Felix is being protected by his crew of thugs. It is revealed that Felix has hired Vincent more than once before, though they have never met each other in person, so Felix knows nothing of Vincent to identify him. Following Vincent's instructions, but mostly forced to improvise on his own, Max succeeds brilliantly in bluffing Felix as well as his henchmen. Even when Max notices a man behind him click the safety off of his gun, Max calmly threatens "Tell him to put his gun away before I take it and beat his bitch-ass to death with it.", and allow him to leave to complete the job. As Max leaves with the files on a flash drive, Felix instructs his men to follow "Vincent" and eliminate him if any problems occur.
On their way to the next hit, at a Korean night club called Fever, Vincent is able to upload his files to Max's cab PC as Max drives, silently, through the neon and Sodium-vapor lit Koreatown. The soundtrack being played at this point is Audioslave's Shadow on the Sun. Max stops at an intersection, and something catching both Max's and Vincent's eye - a pack of three coyotes crosses the street. It's evident that they are males, they are hunting, and they are oblivious to the urban sprawl that they inhabit. As if they own the land, not the humans. Max and Vincent continue on.
Vincent and Max arrive at Fever for the next hit. Unknowingly, the FBI, LAPD, and Felix's thugs are all on their trail. Vincent and Max enter the club, to the chaotic beat of Paul Oakenfold's Ready Steady Go. Hundreds of Koreans are dancing in the club, making it difficult for Vincent to find his next target, a fat Korean gang-boss who is surrounded by his own bodyguards. Vincent is able to identify each of the bodyguards, and takes them down either by force or with his gun. Meanwhile, the FBI and Detective Fanning have entered the club, going after Max, who they think is Vincent. Vincent fires his gun, first at the bodyguards, then, taking out his target. Felix's thugs are gunning for Max, and Vincent is able to take out the thugs before they can kill Max. Vincent shoots Max a cold glare of disapproval for having to save his life. After that, Det. Fanning reaches Max, and explains that he knows Max isn't the killer. The two exit the club amongst the chaos.
As Fanning and Max exit the club, Max looks to be finally at ease, now that he is safe with the police. Gunshots shatter through the air - Vincent kills Fanning as soon as they get out of the club's door. Vincent forces Max back into the cab to drive Vincent to one last hit. Shellshocked from what happened at the club, Max starts to argue with Vincent about why he does what he does. Why did he have to kill the cop? Their argument escalates into mutual character assassinations back-and-forth at each other. In a fit of guilt-fueled rage and fatalistic realization, Max grimly accelerates the cab to reckless speeds through downtown Los Angeles, catching Vincent off guard. Vincent tries to get him to slow down through desperate tactics by threats and pointing his gun at Max. But instead, Max runs the cab into a construction barrier. The car catapults into the air and rolls numerous times down the street, careening off other vehicles, finally coming to rest on its roof. Vincent hears police sirens in the distance prompting him to get out of the cab and to run on foot, leaving everything behind, including the PC with the information on his final hit.
An LAPD patrolman arrives at the crash scene and is, at first, comforting to Max. Doing a walkaround of the vehicle, the cop sees the body of Vincent's first victim in the trunk. The cop immediately pulls his gun on Max and attempts to handcuff him. Max is just about to give himself up when he sees that the last target on Vincent’s list is Annie, the prosecution lawyer he met in the beginning of the film. Max quickly overpowers the cop and takes Vincent's pistol which he had left behind. Max starts running to save her. He steals a cell phone from a man on the street, aiming his stolen gun at him. Max is able to run up to the top of a parking structure adjacent to Annie's building. He tries to call her, and once he gets through and explains the situation to Annie, Max sees Vincent. He is already in the building.
When he realises Vincent is in the building, Max runs inside and up to Annie's office. Vincent cuts the power lines to the building. In a dark office lined with glass panels for walls, there is an amazing view out to the late night lights of Los Angeles. Vincent locates Annie, just as Max arrives. Vincent is about to shoot Annie when Max confronts him. Vincent acts as if Max won't do anything, laughing him off. Max proceeds to shoot Vincent in the ear. Annie and Max get away and run toward the MTA (subway) in the basement. Having been shot by Max, an enraged Vincent pursues both Max and Annie through the building. As they make their way to one train underneath the building, Vincent finally stops before two trains to pick his choice, which just happens to be the one both Max and Annie are hiding in. The scene cuts to Vincent jumping onto the train by the rear door.
Max and Annie believe they have escaped. Vincent searches the train looking for the pair. Max sees Vincent coming and he and Annie rush forward to avoid him. The train stops, and Max and Annie are inclined to get off. But Vincent, using his best hitman technique, waits in the open doors of the train waiting for his targets to get off. They notice this and do not get off. In the ultimate climax, Max is on one side of the skytrain doors and Vincent is on the other. The lights go off, as they do on subway trains. Max closes his eyes and fires multiple shots through the window. Vincent does the same. Vincent starts to re-load, but fumbles and drops the spare magazine (completely uncharacteristic of his precision abilities), and he realizes he has been shot, bleeding from the chest. We see that the bullets fired by Vincent hit the door, this was the thing that probably saved Max. Vincent sits down, apparently calm about the fact that he is dying. Max, still clutching his empty gun, walks over and sits across from him. With his last few breaths Vincent repeats to Max a line he said when they first met, revealing his nihilistic view, “Guy gets on the MTA here in LA and dies. Think anybody'll notice? ” Vincent's head then slumps down and he dies.
With Vincent dead, Max and Annie get off the subway at the next stop and walk away into what appears to be another Los Angeles morning. The film ends with the subway train, in which Vincent's corpse is sitting, driving away.
Theme
Michael Mann himself has stated, in the film's DVD commentary, that the general idea behind Collateral is the clashing of ideals behind the two main characters. Vincent is obsessed with improvisation, often mentioning his reverance for constant change and making things up as he goes along almost as an art form (also reflected by his love of jazz), and definitely as a way of life, whereas Max has been driving cabs for twelve years because he believes that everything he does must be meticulously planned, especially the "Island Limos" company he wishes to set up.
This, of course, is merely one interpretation, but being the one of the director, it is most likely the one that was intended. Another interpretation implies improvisation as a way to live life. Vincent was at his best when improvising and Max was always restricted by his meticulous planning. In the final shootout, Vincent failed to adapt and fired straight ahead, hitting the doors separating him from Max. Max, on the other hand, moved to the side and fired chaotically through the windows, emptying his gun. Due to Vincent's close proximity, Max was able to hit him in the abdomen with a lucky shot. Keeping in line with other events in the film, the victor of this confrontation was the one who was most able to adapt; Max.
Interestingly, Mann's other major crime-drama film, Heat begins with Robert DeNiro's character at an MTA station very similar to the one where Collateral ends. Similarly, Heat begins at an MTA station and ends at an airport, whereas Collateral begins at an airport and ends at an MTA station. On the DVD commentary for Collateral, Mann confirms that it is the same MTA station in both movies.
Another connection with Heat, and other movies of his involving criminals is the focus on the dichotomy of personalities. Heat actually has the reverse, with Al Pacino's character, the detective (also named Vincent) being the one that seems to be focused on adaptation and impulse, whereas DeNiro's criminal character is obsessively methodical with his giving into impulse leading to his downfall.
One theme within the film is the title itself: Collateral. One element behind the title is Max's mother and Vincent's threat that he will kill her. This example of awareness to Vincent's surroundings serves as a way of further showing his ability to improvise and read his situation. He sees that Max is getting scared after the jazz club incident and snatches at an opportunity to gain the collateral he seeks on Max, should he decide to be uncooperative. Rather than kill Max and find another liaison to L.A., he finds a weakness outside of Max's physicality and exploits it ruthlessly. As a result, Max is mistaken to be the deadly assassin by both FBI and thugs, which leaves Vincent virtually unnoticed in the nightclub to make his kill.
On the other hand, collateral works to both mens' advantages. Both Vincent and Max need each other. Max's knowledge of the city streets is crucial to allowing Vincent to make each hit in a timely fashion. Vincent is also encouraging the timid Max to gain self-confidence and stand up for himself, by encouraging him to talk back to the cab company dispatcher and calling the number on his female friend's business card.
Another meaning of the title is Vincent's tendency to avoid collateral damage if possible, as most of the deaths he causes are instrumental. When Max is filling up at the gas station, Vincent warns that attracting attention would "get people killed that don't need to be" (fortunately, the dead bodies of the two thugs that tried to steal Vincent's briefcase did not give Detective Fanning much clues, other than that it was the work of a professional assassin). Another example is in the nightclub, where Vincent warns Max to move a set number of paces to avoid stray bullets. Vincent blends in with the crowd and avoids drawing his gun until encountering the third bodyguard. Template:Endspoilers
Filming in High-Definition
Michael Mann chose to use the Viper FilmStream High-Definition Camera to film many of the scenes of Collateral, the first such use in a major motion picture. There are many scenes of the movie where the use of the high-definition is evident - especially in scenes where the landscape or skyline of Los Angeles is visible in the background, but also during many of the nighttime scenes, where the high-definition is able to bring out more details in a dark, colorless scene. The high-definition images are surprisingly crisp and vivid, even when viewed on a standard DVD at 480i/p resolution. Mann would continue to use the Viper FilmStream High-Definition Camera when filming Miami Vice.
Cameos
In the beginning of the film, upon leaving the airport, Vincent (Tom Cruise) receives the briefcase containing his files from an Englishman, played by Jason Statham. Some believe this minor character to be Frank Martin, Statham's character and the protagonist from the action thriller movies The Transporter and Transporter 2. This is never directly established, however, with the only evident similarity between the two characters being that they are both played by Jason Statham (although this theory can possibly be supported by the fact that in The Transporter movies, Statham's character is a courier of suspicious and frequently illegal materials, which would appear to be the purpose of the Englishman in this movie).
In the scene where Max enters the "El Rodeo" nightclub to meet with Felix, jazz guitarist, Luis Villegas, appears in the background as a member of the band playing in the club.
The Insider co-star Debi Mazar also makes a cameo appearance alongside Bodhi Elfman as a bickering couple in Max's cab.
Trivia
| This article contains a list of miscellaneous information. |
- Tom Cruise's character, Vincent, wears a similar suit to that of Robert de Niro's character in a 1995 Michael Mann film, Heat. This is no coincidence as Mann's research indicated that both characters would dedicate their appearance to being difficult to describe. Both men are medium build and height, grey and white suit with a light beard. Vincent goes further and has his hair dyed silver grey and his facial hair is less pronounced (he has facial hair but it's not a full beard). This lends his appearance a low contrast, colorless look that will not draw attention to itself. Both Vincent and McCauly in Heat use the Mozambique Drill and even the words "double tap to the sternum and one to the head" make it into the films.
- In the nightclub scene the lead detective says the phrase "Get clean shots, watch your background..." over his radio to the rest of the SWAT team. This is the same line spoken by Vincent Hanna (played by Al Pacino) in Heat, also directed by Michael Mann. The phrase refers to the problem of bullet over-penetration, i.e. rounds fired at a suspect may pass through the target and continue for some distance and potentially injure bystanders or hostages. It also refers to potential injuries caused by rounds that miss their intended target.
- To prepare for his role as Vincent as a person who could get in and out of anywhere without being recognized or remembered, Tom Cruise made FedEx deliveries in a crowded Los Angeles market without being recognized - one of these deliveries can be seen on the DVD.
- There is an error in the final sequence of the movie concerning the MTA blue line: while Max & Annie are making their getaway from Vincent, the destination that the train is headed for isn't the usual path the blue line takes but instead end up going the route of the MTA Green Line and ending up at the end of the line in Redondo Beach instead of Long Beach
- The "Black Peter" (Zwarte Piet) Christmas story that Felix tells is a real-life folktale; however, it is not a Mexican tale, but rather a Dutch one.
- The laptop that Vincent uses in the film is an HP Compaq TC1100 tablet PC.
- Vincent's weapons include a Heckler & Koch USP45, an integrally suppressed Ruger MkII .22LR pistol and a switchblade. He is also adept at hand-to-hand fighting.
- Vincent kills fourteen people in one night. He was originally assigned to kill five, of which he successfully managed four. Unintended kills or collateral damage include: the two thugs trying to steal his briefcase, five of Peter Lim's bodyguards (one's neck was broken, four were shot with at least two rounds in the sternum), one of Felix's henchmen, LAPD Detective Fanning, and the security guard at the lobby of the District Attorney's office.
- The song played in the night club is Paul Oakenfold's "Ready, Steady Go" with Korean lyrics.
Awards and nominations
2005 ASCAP Film and Television Music Awards
- Won - Top Box Office Film — James Newton Howard, Antonio Pinto
2005 Academy Awards (Oscars)
- Nominated - Best Performance by an Actor in a Supporting Role — Jamie Foxx
- Nominated - Best Editing — Jim Miller, Paul Rubell
2005 Academy of Science Fiction, Fantasy & Horror Films (Saturn Awards)
- Nominated - Best Actor (Film) — Tom Cruise
- Nominated - Best Director — Michael Mann
- Nominated - Best Action/Adventure/Thriller Film
- Nominated - Best Writing — Stuart Beattie
2005 American Cinema Editors (Eddies)
- Nominated - Outstanding Achievement in Cinematography in Theatrical Releases — Dion Beebe, Paul Cameron
- Nominated - Feature Film - Contemporary Film — David Wasco, Daniel T. Dorrance, Aran Mann, Gerald Sullivan, Christopher Tandon
- Won - Best Cinematography — Dion Beebe, Paul Cameron
- Nominated - Best Actor in a Supporting Role — Jamie Foxx
- Nominated - David Lean Award for Direction — Michael Mann
- Nominated - Best Editing — Jim Miller, Paul Rubell
- Nominated - Best Screenplay (Original) — Stuart Beattie
- Nominated - Best Sound — Elliott Koretz, Lee Orloff, Michael Minkler, Myron Nettinga
- Won - Best Supporting Actor — Jamie Foxx
- Nominated - Best Supporting Actress — Jada Pinkett Smith
2005 Broadcast Film Critics Association Awards
- Nominated - Best Supporting Actor — Jamie Foxx
- Nominated - Best Picture
External links
