A taxi driver is unexpectedly taken on the ride of his life in this stylish thriller from acclaimed director Michael Mann. Max (Jamie Foxx) is a cab driver who hopes to some day open his own limo company; one night behind the wheel begins promisingly when he picks up Annie (Jada Pinkett Smith), an attorney working with the federal government who is attractive, friendly, and gives him her business card after paying her fare. Max thinks his luck is getting even better when his next fare, Vincent (Tom Cruise), offers him several hundred dollars in cash if he’ll be willing to drop him off, wait, and pick him up at five different spots over the course of the evening… –amctv
Michael Kenneth Mann (born February 5, 1943) is an American film director, screenwriter, and producer. For his work, he has received nominations from international organizations and juries, including those at the British Academy of Film and Television Arts, Cannes and the Academy of Motion Picture Arts and Sciences. He has produced the Academy Awards ceremony twice, first in 1999 with the 72nd annual Academy Awards and second in 2004 with the 77th annual ceremony.
Mann was born in Chicago of Jewish heritage, the son of grocers Esther and Jack Mann. His father was a Ukraine immigrant and World War II veteran and his mother came from a family native to Chicago. Mann was close to his father and his paternal grandfather. He grew up in the Humboldt Park neighborhood and immersed himself in the burgeoning Chicago blues-music scene as a teenager.
He studied English at the University of Wisconsin-Madison, where he was an active member of the Pi Lambda Phi fraternity, and developed… read more
Jamie Foxx does a good turn as an everyman cabbie, and Cruise is surprisingly reflective in his badass role (a role he has effectively reprised in "Jack Reacher"); but there is an almost total lack of tension and sense of cinematic panache due to slack editing and workaday cinematography. Probably the world's greatest screen actor, Javier Bardem, steals the film in his one scene.
An exploration of the increasing visual emphasis on the ear in Michael Mann’s work.
A rediscovered interview, a new issue, a fresh round of lists of the best of 2011.
Above: Stand-ins help rehearse a scene from Public Enemies. Photo by Rob Olewinski. I spent a few days in the summer of 2008 on the set of
Here’s a film I’ve been conflicted about since its release in 2004. Much like ‘Public Enemies’, ‘Collateral’ is another one of Mann’s films that I wanna love unconditionally but I just cant. Don’t… read review
Collateral is a soulful ballad of death in an exquisitely photographed evening-time LA. Michael Mann exceeds in the highest regard at creating an additive, aesthetically cool atmosphere by combining… read review