We Recommend: A Movie Podcast
We Recommend is a movie podcast where every week Jesse and Jason discuss a movie that they love and recommend you to watch and then come back and listen to their podcast!
We Recommend: A Movie Podcast
Collateral
A chance encounter between a mild-mannered taxi driver and a ruthless hitman transforms into a night of reckoning that will change both men forever.
Featuring career-defining performances from both Cruise (playing brilliantly against type) and Foxx (who earned an Oscar nomination), Collateral stands as one of cinema's most compelling explorations of how a single night can force us to confront who we truly are. Experience this neo-noir thriller that asks: what would you do if forced to face your own complacency at gunpoint? Give us a listen!!
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Music produced by Joey Prosser. X @mrjoeyprosser
Hello and welcome to the we Recommend podcast, a movie podcast, where every week, we recommend a movie for you to watch and then come back here and listen to us discuss. I'm Jesse, I'm Jason. You killed him.
Speaker 2:I shot him.
Speaker 1:Bullets in the fall killed him, because this week we recommend Collateral. Damn Jason, that was a good Tom Cruise. I thought I was like where'd Jason go? It's like, why is Tom Cruise sitting in my house?
Speaker 2:wearing a Rick and Morty t-shirt and he's not running what is wrong with him.
Speaker 1:He's not running. It's like for a second I was like your hair's gray, your suit's gray.
Speaker 2:Yeah, he does kind of look like a ghost, yeah, and sometimes he looks like the Patrick Swayze's ghost from Ghost. Oh my God, the hair.
Speaker 1:Tom Cruise, patrick Swayze Combine them, the sexiest, best actor you've ever seen. So Collateral Unilateral, A couple questions. Have you seen it before and what do you think?
Speaker 2:I had seen it before. I didn't really remember it, yeah, and I'm not. I didn't really like it that much, I thought it was. It was kind of fun. But you know something interesting I saw Trey Parker and Matt Stone, you know the South Park Raiders. Yeah, they were talking, they were giving like a course on story writing and they said if you can put and then between the beats of a story, then it's bad. And I feel like that's what happens in this movie, because there's no real progression of a story. It's just kind of like this happens and then this happens, and then this happens, and then this happens, and then this happens, and then this happens and then this happens.
Speaker 1:You know, I do understand that sentiment is like. I think I almost kind of had a similar like thought when I first watched the movie yeah Right, but I disagree. Yeah Right, it's this, I guess, because it's a hit man movie. Yeah, and that's kind of how hit man movies are. It's like the hit man does this and then he goes and does this and then he doesn't go this. But I do agree that it is this kind of like they go to place to place, do this, go to place, do this go to place and do this.
Speaker 1:And uh, during my notes, so yeah, so I guess one of the main reasons that Michael Mann chose to make collateral was the way that the writer's script captures an entire story in a very short period of time. The whole movie is like the third act of a traditional drama. He likes how it doesn't go backwards to offer more details into these characters lives and instead we're just catching them at this moment and that, and I feel like some other movies have done that yeah, successfully, but I feel like this movie because you don't really find out why he's killing these bad boys until the very end.
Speaker 1:Oh, yeah, well, you kind of got like it is tough because you know I've seen this movie like maybe five or six times in my life so I'm like I know this all makes total sense to me. But yeah, it is. It's kind of like it's a mystery film, which is kind of fun If you're watching it for the first time.
Speaker 2:It's a mystery to me why Jimmy Fox's character wants to be a limo driver. We can't talk about that.
Speaker 1:Right, wants to be a limo driver. Okay, we can't talk about that, right? So that is where it's a little silly and he's got his dumb little picture where it's just like this is my vacation, a completely an island where, like no one's nearby and it just seems like you're just sitting out in the sun and you're going to fry to death. It's like all right, Jamie, come on Like maybe find a different picture.
Speaker 2:we find a different picture. Eye of the sky, I guess.
Speaker 1:It does seem like maybe somebody was like I need a picture of an island, like uh, uh, uh. No, that's an island. That's a classic picture of an island.
Speaker 2:We'll do that one Print.
Speaker 1:Um, I don't know, I guess for me it's just I like that. It is kind of that like go, go go, little conversations between the car where it's like just essentially telling you like how these guys are and like his viewpoint is that he's almost just like a, a part of nature.
Speaker 2:that's just like chilling and like just coming after you. He's the wild dog killer.
Speaker 1:He's a coyote in the in the uh, you know, on the street. But so is max, because he's kind of the, he's like alone in his car all the time and he's just trying to get through this city. They're both kind of coyotes, right? Just different versions.
Speaker 2:Yeah, I guess. So If coyotes could drive, yeah, that'd be awesome.
Speaker 1:So I get that like maybe you don't fully like the story, but I mean, what is it in the movie that you do like, if there is anything?
Speaker 2:I don't know. I kind of like the idea of always like a hit man, yeah it's great and Tom Cruise is fantastic. I love his frosted tips God he's so good in this movie.
Speaker 1:It's wild.
Speaker 2:I know I was thinking the other day like, or last night while watching the movie, that it must be very lonely to be an action star, Because everyone wants to kill you all the time.
Speaker 1:Yeah, in every movie you're constantly being, he's always having to run away from people.
Speaker 2:Is he so unbearable that everyone wants to just like take stuff from him? So he has to do action, shit Right. But in this one you kind of start off liking him and immediately don't like him, and then you kind of like him again later. I was like he can't even pay Jamie Foxx to be his friend.
Speaker 1:Yeah, the beauty of this movie, I think, is like you start off, you get in and it's like Tom Cruise, he's just fucking acting the shit out of this thing. And then you're like, oh yeah, I love him. And then he turns out to be a bad guy and it's like shit, tom Cruise is a bad guy. Hasn't happened yet this is the first movie.
Speaker 2:He's a bad guy ever, and he doesn't even feel like a really good bad guy though.
Speaker 1:Yeah, and that's the thing where he's just like he's not, he's just doing a job, he's doing a turned on on his brain where it's just like he could be probably a great friend, but he's a killer instead.
Speaker 2:Yeah, you caught him during work hours.
Speaker 1:Yeah, you caught him, you catch him after and you tell him like this nice story he'll probably be like let me buy you a drink, type of guy.
Speaker 2:Yeah, except for if you take me, don't take me to a jazz club.
Speaker 1:Yeah, please. I'm not a jazz fan, I'm not a big jazz jazz guy either. Um, because that I mean I'd probably enjoy it if I was there live, though sure, I think so but I've seen live jazz and it wasn't good.
Speaker 2:So I mean but not all of it's, it's all different.
Speaker 1:I guess that's the whole point yeah, you're not supposed to like it, you're just supposed to be like. I know what jazz is. It's about the notes they're not playing. I love the amount of movies. Any, almost any time there's jazz in a movie, there has to be some guy that is explaining jazz to another guy.
Speaker 2:Yes, and in this one there's two guys that know a lot about jazz, but one of them doesn't know enough.
Speaker 1:Yeah, he didn't know. Three extra sentences.
Speaker 2:I just had trouble following it.
Speaker 1:Yeah, okay, that makes sense. It is kind of just like a quiet, quaint little movie where people get shot and it's great, well, okay, so let's. Another question I have is why is LA so empty in this movie?
Speaker 2:right, because it's nighttime. Yeah, is he in LA though?
Speaker 1:Yeah, I thought it was in New York. No, it was actually filmed in LA. Okay, originally, it was actually filmed in LA. Okay, originally, it's supposed to take place in New York, but they changed it because Michael Mann loves to film in LA. Hell yeah, michael Mann. I thought it was just funny.
Speaker 1:I was just like isn't the thing about LA is that, no matter what time of day it is, there's just jam-packed traffic, but yeah, I guess I don't know, I don't know anything about LA so, and about it drive like it's pretty much empty streets the whole time.
Speaker 2:So and one of the big giveaways that it is la is that people try to give you the best directions.
Speaker 1:Yeah, I feel like every person that gets in the car is like take this, this and this, it's like dude. I drive every night.
Speaker 1:This is my gerb and I love michael man and I know I've talked about it before, but, like, michael man loves people that are good at their job, right, michael Mann, always every movie has it's people that are really good at their jobs. Usually they're robbing things, but this one one's a taxi driver, one's a hit man, just double tapping the chest and head. It's great, that is good, awesome. But yeah, and fun fact about Michael Mann is he likes to hire cops and robbers to be to like, give him like information on how they do their jobs and stuff. Like, let's say, mark Ruffalo's character, right, the cop looks pretty crazy looks like a greasy ass cop.
Speaker 1:And that's because he showed him a cop from, like, I think, chicago and was like and like Mark Ruffalo got to meet him. He's like you're him. Be him actor. That's like you're him. Be, him actor. That's why he looks a little silly and he has a great goatee and I don't know. It's a fun little thing. Mark Ruffalo hadn't really seen him in anything until Collateral when I was young.
Speaker 2:Well, I think detectives because he's a detective.
Speaker 1:Yeah, this is supposed to be greasy and gross, yeah that is true if you come into a cop interview or whatever they do and like grease up a little bit.
Speaker 1:If you spend your life in the underbelly, in the greasy streets, you're gonna look, it'll look the part yeah, I always like to think that it's because, like, let's say, the movie thief, which I've brought up before, it's like he had to like to do the robbing and stuff in the movie. He literally had a thief on set with him constantly Just stealing his shit, Just being like this is actually how I do it and this is how I do this.
Speaker 1:And then even in Thief, there's actual cops in it, being cops just because it's like I don't know, I know these Chicagoago cops, so this is what we're doing. I just like to think that every time michael man is about to get robbed or getting pulled over and he's like I'm actually gonna do a movie, do you want to be in it?
Speaker 2:yeah, that's a great way to get out of it show up.
Speaker 1:It's nothing but like 50 robbers and 50 cops showing up on set every day and it's like I had a rough week. Yeah, they're like Michael, you got a problem. Another fun thing is Adam Sandler was supposed to be Jamie Foxx's character, but the movie Spanglish went over in filming, oh wow. So he couldn't be in it, and this was you know around the time where that wasn't a good movie either.
Speaker 2:It's not good, but I enjoyed it. He's like hey, kid, go collect a bunch of glass that's on the beach for me. That's so wild, I need some trash for my restaurant.
Speaker 1:But that was kind of around when he was doing Punch Drunk Love and kind of maybe doing some serious stuff. I love serious Sandler, it's great. So we'll hop into some quotes a little bit. So, according to Michael Mann, vincent is a man able to get in and out of anywhere without anyone recognizing him or remembering him. To prepare for the movie role, tom Cruise had to make FedEx deliveries in a crowded Los Angeles market without anyone recognizing that it was Tom Cruise, without anyone recognizing that it was Tom Cruise. They also had him Tell random people On the set Like throughout Before filming and stuff, and they're supposed to follow him all day and then by the end of the day he's supposed to put like a phone to their head.
Speaker 2:And be like gotcha.
Speaker 1:So that he could be a hit man that could get in and out of anywhere, and if that's not the coolest thing you've ever heard Tom Cruise doing, then that's it.
Speaker 2:I imagine him delivering packages is like Ace Ventura in the first movie, in the first Ace Ventura movie, kicking that box around.
Speaker 1:Just doing his little. You know how Jim Carrey walks where he's got a stupid face and he's moving his whole body while his hands go in the opposite direction.
Speaker 1:So this was, you know, like I said a little earlier, this is a really fun movie, especially for people that are fans for tom cruise, because, you know, like cruise never plays a bad guy and he didn't really think that he'd be a fun bad guy. He's a a really fucking fun bad guy, even though, I will say, in an interview with a vampire I feel like he's kind of a bad guy. I mean a little, but I think that's more of like vampires.
Speaker 2:I mean, what the fuck are they supposed to do, right?
Speaker 1:But I mean, and like Cruz had like a crazy run, risky business Top Gun, color of Money, rain man, few, Good Men, the Firm Interview with a Vampire, mission Impossible, jerry Maguire, eyes Wide Shut, magnolia, mission Impossible 2, vanilla Sky, minority Report. He's in Austin Powers Goldmember for a little bit Collateral. Then he does War of the Worlds, mission Impossible, and then, you know, it kind of like falls off Because you know we talked about during World of Worlds. He did his whole Katie Holmes thing and it's like what are you doing? You've gone insane with Scientology. And then like he quit working with auteurs like Michael Mann, steven Spielberg, all these like really you know famous directors that make their kind of movie. Then he just started kind of doing like movies like Night and Day Valkyrie he still was doing Mission Impossible. Then he just started kind of doing like movies like Night and Day Valkyrie he still was doing Mission Impossible. And then he did Rock of Ages. Have you seen that? Yeah, he's the best part of the movie. Yeah, sadly it's like it's bad, but it's just like.
Speaker 2:I'm glad you went for it, man.
Speaker 1:I went to the theaters to watch it, watch it. And then he kind of came back after like maybe like a seven year stint. I was just making like mediocre movies with like Oblivion, edge of Tomorrow. The Mission Impossible movies really got back into gear and now this is where we're at.
Speaker 2:Did you when you were listing off those movies? Was that in chronological order? Like this came out before Mission Impossible.
Speaker 1:Well, it came out before Mission Impossible 3. Oh, but, like Mission Impossible 2, sucked Vanilla Sky he also did wasn't that great. But then you know Minority Report and he did a couple movies with Spielberg, which was great. Then you had Jamie Foxx, right, Hell yeah, he's kind of his career is kind of weird because he didn't really do much. Like you know, he had his. What was it In Living Color? Yes, much like you know he had his. Uh, what was in living color? Yes, which?
Speaker 1:uh, I haven't really seen any, but my wife loves, like grew up watching it and she I wish she was here so she could tell me, uh, his character, where it's like I'm ret to go or whatever, I don't know, I haven't seen it so I feel weird saying that, um, but you know, he's this comedian, and then all of a sudden it's like hey, I'm gonna act. And then he just kind of comes out swinging pretty strong, he you know, uh, uh, uh, let me find it because he did ollie with. It's a michael man movie and he's the best part of that movie. He's so good in that movie like it starts with him. You're just like Jamie Foxx can do this, ok. And then he does Collateral, which is the same year as he wins his Oscar for Ray. He was literally nominated for an Oscar for Best Actor, which he won for Ray, and Best Supporting Actor for Max in Collateral.
Speaker 2:Oh nice, it's like fuck you. Yeah, he is probably the best part of the movie.
Speaker 1:yeah, but then he doesn't really do that much. I mean he did Stealth then Jarhead love Jarhead maybe stressed me out as a kid. I remember watching Jarhead and not really getting it that makes sense, that's how I've, that's how I felt, like how I felt the first time I watched it and then kind of grew up a little bit and I was like I, almost I watched a different movie than what everybody else was talking about, you know.
Speaker 1:Yeah, oh, where it's like Jake Gyllenhaal he wants to take the shot but he doesn't take the shot. I guess I don't know Spoilers for Starhead. It's just kind of a movie about like how they build you up to be this killer and then like it's like stresses you out and then you finally have the chance that you wanted to do why? Why you got in the military is because you wanted to kill bad guys.
Speaker 2:And then it gets to this point where you're like, you spend most of your time mopping.
Speaker 1:Yeah, and it's just like he wants to do it, but then it's like shit he doesn't get to. It's like why did that hurt? Get it, man.
Speaker 2:Because they don't. They don't really test your fight or flight response before you get into it. Yeah, that's what they train you to do, like here, kid kill.
Speaker 1:It's like, oh great. But then Jamie Foxx, really like after winning an Oscar, you know, other than like Django Unchained and Baby Driver. Yeah, django, there's not a lot where you're just like hell yeah, Jamie Foxx.
Speaker 1:Which kind of is a bummer, because he had a huge thing and Jada Pinkett who fucking crushes the beginning of this movie. You know, after this movie she didn't really do too much either, Except for making a lot of weird like news articles and stuff about her and Will Smith and their sex life, which is like all you hear about Will Smith and Jada Pinkett now, and it's weird.
Speaker 2:And what the hell? They had Jason Statham in this movie for five seconds. Yeah bro, what was he just getting off? He's the transporter yeah this is where he meets up with his buddy killer.
Speaker 1:I'm here to drop off. Are they on the same team?
Speaker 2:do they work for the same people?
Speaker 1:yeah, I think he's just like the man. That's like dropping off the information for him. You know his little suitcase that has all the information about the his hit list.
Speaker 2:Yeah, I want to see more jason statham my double feature will allow you.
Speaker 1:They should let him drive, because he is a driver, I know oh, michael man, do you think that I could be the taxi driver instead?
Speaker 2:what if a killer gets a cab guy who's also a killer? Yeah but he's this is he's moonlighting as a cab driver.
Speaker 1:Tom Cruise, I'm actually going to be in a taxi cab behind you and I'm going to do an even better job. I feel like I really like.
Speaker 2:Jason Statham.
Speaker 1:You think that you're hitting?
Speaker 2:me. Actually, he could have used Jason Statham to drive behind him just to pick up the bodies. No, he's just going to be like oh.
Speaker 1:Oh, yeah, you're going to use a taxi, I'm going to use an Uber. Then Batista's next to him. It's like, well, yeah, I'm in a movie called Stuber, which is essentially like a different comedy version of collateral Nice. So the Australian screenwriter Stuart Beatty was only 17 when he took a cab home from Sydney Airport. It was on that ride that he had the idea of a homicidal maniac sitting in the back of a cab, with the driver nonchalantly entering into the conversation with him, trusting him, his passenger implicitly. Beatty drafted his idea into a two page treatment. Later, when he was enrolled at Oregon State University, fleshed it out into his screenplay titled the Last Domino. He put the script away, taken out occasionally for revisions and rewrites over the following year, and then Michael Mann got it. So, yeah, isn't it fun when you just hear how people come up with ideas in the movie, like the guy literally got in a taxi cab and was like it was that, it was like the hangover scene where Zach Gilifanakis is at the poker table and like all the numbers.
Speaker 1:I feel like that's what it is for screenwriters, when they just like do a mundane task and then all of a sudden they're like oh, and then they're just like, they like start daydreaming or whatever, and everybody's like man, he must have came out with the script idea. That's what I love, I love, I love. That's why I really like doing like the facts on movies is when you can find something like fun, like that, where it's like this guy just got in a cab and he had a whole movie in his head.
Speaker 2:I'm sure no one's ever gotten to a cab and thought about serial killers.
Speaker 1:No except for every cab driver, when someone gets in the car, it's like God damn.
Speaker 2:I hope this is an exterior killer. Yeah, that's why they have that really nice glass separating them.
Speaker 1:Yeah, so Tom Cruise's tactical draw, the way he uses his gun, is so good in the scene from Collateral that is used by experts and lessons for handgun training and that like multiple cops have come out and said like while watching this they're like it's not perfect, but it's pretty close, it's better than some cops Nice. So like they're saying like, yeah, you know, tom Cruise, he's just, if he does something, 100 fucking percent he needs a gun all the time.
Speaker 2:That's probably why he's so good at it.
Speaker 1:Yeah.
Speaker 2:He's always good. I mean I acting he's probably taken a million gun classes.
Speaker 1:It's 40 years of him knowing how to use a gun. At this point, right, it's like the guy just knows how to use a weapon. I wonder if he'd be any good in actual combat.
Speaker 2:I mean, I feel like right at this point. Until he fired a bullet, he's like oh shit, it works Like if.
Speaker 1:Tom Cruise and Keanu Reeves were just hanging out and someone broke into a house. They'd be like well, thank God, tom Cruise and Keanu Reeves are here.
Speaker 2:They have a gun.
Speaker 1:They fist bump with their guns in their hands.
Speaker 1:Let's do this. We both have movies where we shoot twice in the chest and one in the head. Let's go so to help Tom Cruise and Jamie Foxx best capture the spirit of their characters, michael Mann wrote documents on their background of Vincent, and Max Cruise said that his document of Vincent had information of how he began to like jazz. Mann and Tom Cruise worked out exactly where Vincent came from, while nearly none of it mentioned in the film. Their collaborative backstory is pretty detailed. So here it is.
Speaker 1:If he was in a foster home for part of his childhood and he was back in public school at age 11, that would have sometime in the 70s he would have been dressed very awkwardly, would have probably been ostracized because he'd uh, because he, how he looked, um, they postulate, postulated an alcoholic, abusive foster father who, culturally very progressive he was probably part of ed saddle, was still works local. He was a vietnam veteran. He had friends who were african-american on the south side of chicago, of Ed Saddlewisk Steelworks local. He was a Vietnam veteran. He had friends who were African-American on the south side of Chicago. The checkerboard lounge is 30 minutes away from some sort of skyway. The father was probably an aficionado of jazz. There was great jazz scene on the south side of Chicago, but it was almost as if his father blamed the son for what happened to his mother. The father never tutored the boy in jazz. And then just like so on, so on so essentially just had this whole backstory.
Speaker 1:Jazz, yeah, it's all jazz no, I guess that's something michael man does, he like, he likes to like really work on the backstories of the characters with the actors, and it's all about the people. You don't shoot yeah, it's all about the people you don't shoot, but I just think it's cool. It's like, oh wow, they had this whole fun little backstory that could have been like a decent little movie, movie about jazz and alcoholic father going through.
Speaker 1:Yeah, yeah, um, and we'll dive into this last couple of facts um, what do you think of the look of the film? It's weird.
Speaker 2:Right, it wasn't, I did like it's like super grainy, super grainy color but it worked out for Vincent. Uh, when they they show him like with lights behind him, he looks ghosty. Yeah, he looks like he's gonna just fade away. Yeah, so that was kind of cool.
Speaker 1:so, um, the way they got the look of this film is Michael Mann wanted to be able to see everything in frame. Like you know, it's super dark. Film cameras struggle getting with light because you know it's film Isn't that what they're made to do. Well, you know, lights are made to light everything.
Speaker 2:I don't know what cameras are supposed to get the light.
Speaker 1:Yeah, that's what their whole job is, film has a harder time to do it. You just don't have as much control how it takes in light, except with just the lens, but on video cameras you can. So that's why there's like this real grainy look and there's like the shutter speed is kind of different on video cameras and because it's got to be so bright, that's why there's kind of like almost this like lack of motion blur sometimes and how you're able to get a shot of Tom Cruise and Jamie Foxx in a car but everything outside is brightly lit. If you're using film you wouldn't be able to see Interesting and that's why it's got this grainy kind of like. The colors are kind of weird.
Speaker 1:Yeah, like those overhead shots are amazing. They were pretty cool and so only like 20% of the movie was filmed on film, and that was mainly the scene where they go to javier bardem. Just because that was, uh, such a well lit it. Pretty much if they went inside and had enough lights, they're able to use film, but otherwise you mean like in the parking garage and the train station and shit uh, yeah, like, probably those were using film.
Speaker 1:So man wanted to capture a distinctive look of la at night, emphasizing the way the city lights reflected off the streets, buildings and even low clouds. He aimed to create a sense of glowing urban environment, like you said, like that's why I look ghostly, where the city itself felt like a character in the story just as much as Vincent did. Hd video at the time was superior to 35 millimeter film and its ability to capture detail and color nuances in low light situations. This allowed man to film many of the night exteriors with less need for extensive artificial lighting. Creative, a more natural and realistic look. Man was interested in using hd video to mimic the look of film and said he wanted to embrace the unique aesthetics that digital video could offer. Um, but yeah, so it just created more digital grain and lower shutter speed.
Speaker 1:I remember the first time I watched it with my buddy growing up and he's like I don't really like the way it looked, and I was like this is a fucking style, baby, that I'm into. But yeah, I just think I don't know. It just goes into the part of like, kind of why I like the movie so much. There's just such a distinctive style and you know you don't see too many movies like this where it's just like, hey, hop in a cab, I'm going to go kill people, it's fun. You got two, well, three great or great actors uh, ruffalo Pinkett and, uh, yeah, jamie Foxx and Tom Cruise.
Speaker 1:Uh, so, yeah, we're going to hop into the pot, but Maybe it's called what's the Point. It's where we're going to like, as we go through the plot, we want you to think about what's the point of this movie. What's it trying to say? Is it a strictly entertainment? Is it just does it? Is there a message behind what they're doing? And we just want you to think of that as we go through the plot. And the reason I came up with this is, like a lot of times after I watch a movie and it's me and my wife, or even a TV show, and we finish it like a lot of times, once the credits roll in, I'm like all I think is like, and maybe it's just because I'm at this point in my life like what's the point?
Speaker 2:As you slam your fist down on the coffee table. What's the point?
Speaker 1:No, it's just always an interesting question. It's usually what I'm like after I watch movies. I just kind of like I usually don't have a lot to say about it. I just kind of like think, man, what's the point of that movie, what's the point and that's kind of well realistically why I have this entire podcast? I just want to know the point of everything.
Speaker 2:I watch. What's the point so?
Speaker 1:go through the plot, you can ask, maybe you'll hear it, and then you can just scream out in your car or wherever you're at, like I know the point, and then at the end of the movie I'm going to tell you the point, or what I think the point of the movie is Not what it probably actually is. Decisive. Yeah, all right, you ready man, let's do it. Hell yeah, I didn't expect to talk so much about Collateral.
Speaker 2:Turns out.
Speaker 1:I fucking love this movie jason, and what I love about it. The more I love a movie, the more you come back with me. It's like actually I didn't really care for it it's our point break.
Speaker 2:We're back to point break. Baby, that was just silly wait, point break or collateral.
Speaker 1:You gotta know uh honestly I had.
Speaker 2:I would rather watch point break again, just so I could laugh at how bad of an FBI agent he is.
Speaker 1:That was the best part, utah is the best FBI agent you've ever seen.
Speaker 2:There's no dogs being thrown around willy-nilly. That is true.
Speaker 1:There is a coyote, though. Too bad the coyote didn't jump on Tom Cruise and he threw him at Jamie. Foxx. All right, so we're going to hop into the plot. So we see Vincent. He's arriving in LA. He's handed a package at an airport by Jason Statham Love. A good handoff, though, right? It's like I said, bump into each other. Hi bruv, I think you bumped into me, didn't you? It was kind of like wasn't even very sneaky.
Speaker 2:Yeah, no, it's like why couldn't y'all just like hand each other? Yeah, why you have to bump into each other.
Speaker 1:Yeah, well, I guess it is post 9-11. I'm sure there's a lot of it's like not too long after 9-11. So I'm sure security is extra amped up. And yeah, especially in LA airport, I feel like that'd be a pretty targeted place. All right, that makes sense. Then we have we meet Max. He's a Los Angeles cab driver trying to earn enough money to start his own limousine business, island Limousines. I love the idea, though.
Speaker 2:I love this idea.
Speaker 1:Yeah. So one night Max drives US Justice Department Prosecutor Annie to her office where she prepares for a drug indictment case. Annie is taking on the phone to her college colleague talking on the phone to her college colleague and Max understands she is working on a big case and is going to work all night to prepare the paperwork to file the court the next day. Annie wanted Max to take a specific route but Max suggested different ones, suggesting it would be faster. They make a bet and it turns out Max was right.
Speaker 2:Who would have thought, yeah, a professional. I guess a lot of cab drivers want to take the longer way, so you pay more money.
Speaker 1:Yeah, and that's like something she kind of brings up. It's like you could have made five extra dollars. He's like it's not about the money lady, it's about the job.
Speaker 2:I love driving so much yeah.
Speaker 1:He tells her about his island on wheels idea and shows off by guessing what she does. I love that. As they're driving, you got the great shots of overhead LA and it looks glowy and amazing and you can see everything with the camera they use.
Speaker 1:And I just want to scream about cameras and yeah, I just love the weird camera effects that the digital camera has. At night. Mask Max ask if she likes her job and she says she does, but she looks concerned because she is scared she could lose her case. I cannot express this enough. Like Jada crushes this scene, I mean, and so does Jamie. Of course he's great in the whole thing, but this whole time I was like I want them to kiss. By the end of it I was like she needs to come back and kiss, but she just gives a business card.
Speaker 2:This isn't speed okay. Everyone should kiss Jason.
Speaker 1:If they make eyes at each other in a movie kiss.
Speaker 2:If you save a woman, she has to kiss you.
Speaker 1:Hey, or hey, if a woman saves a man, he has to kiss her with her permission. But yeah, I don't know. It's just like a little cute, meet, cute, right? Yeah, it's fun. He tells her to take a vacation. He shows her his little island pictures, saying he takes a vacation a dozen times a day. Then he gives her a picture and she's like you're not a psychopath, that's cool, yeah. And he takes a liking to Max, leaving him her business card, and it's cute. So what I like about it is like you know, jamie Foxx, attractive man, but like I feel like you put them in like some sweatpants and big old glasses and it's like Jamie Foxx looks like a regular guy, you know, yeah, but like he still has that like charisma and I don't know he's just got a nice voice where he could like charm the pants off anyone. It's like I get it.
Speaker 2:Yeah, I do like that. He seems like a really genuine person and not just you know, I don't know.
Speaker 1:Yeah, he's not like a salesman, it's like for whatever issues people may have with, like the story and how it's done. It's like man. They got good actors and they fucking act the shit out of this movie, and not in a big way, it's a very like, low, small, subtle movie, which is my favorite type of movies. So Vincent, played by Tom Cruise, enters the cab next Ah, you should have drove off. He almost did. Yeah, he almost walked away. I could have avoided all of us.
Speaker 1:So Vincent talks about how he hates LA and that one time a dead man's corpse rode the subway for six hours before anyone noticed it. And he says like L, like LA has 17 million people in the in the and it is the fifth largest economy in the world all by itself. Yeah, the city is too spread out and too disconnected and nobody knows each other. Vincent tells Max that he is in Los Angeles for one night to complete a real estate deal and has 6am flight out of LAX and Max agrees to take them because Vincent wants them to drive all night and Max was going to give him $600 and he only makes like $355 in a night and he's going to add another $100 if he gets them to LAX on time, so he's just going to chauffeur them to five different appointments. Get more top-down shots of the city. It's great.
Speaker 2:I love how he flashed the cash. He's like, hey, you seen money before? Yeah.
Speaker 1:I loved how he flashed the cash. He's like hey, you seen money before? Yeah, yeah and um, you know, like Vincent kind of comes off a little rude at the beginning of this and I think the whole point is that he's kind of trying to be rude to Max, to be like, see how much he will take. Like is he going to be a type of guy that turns around and says get out of my fucking cab, or is he going to be someone that's just like, yes, I'll do it a pushover, yeah a pushover which is what he gets what he needs.
Speaker 1:Yeah, so as Matt. So then they make it to his first drop off, I guess. And as Max waits at the first stop, vincent enters an apartment complex and shoots a drug dealer, and Ramona unexpectedly falls out of the window directly onto the cab, forcing Vincent to reveal himself as a hitman. Don't you hate when you're just eating a sandwich in your cab looking at a bunch of tiny cars, Mercedes Benz cars I love a good sandwich and the next thing you know some guy's falling out a building on your cab.
Speaker 2:It happens all the time.
Speaker 1:Yeah, I love that Cruz comes out. It's like, well, jigsaw is what? Well?
Speaker 2:that's also kind of what made me think he's not very good at his job. It's like he's like wait for me in the alley, I'm gonna shoot a guy out the window, just don't park under it yeah, you parked at the wrong spot. Maybe don't shoot a guy out the window. Yeah, I guess, if you don't, he probably didn't mean for him to fall.
Speaker 1:I'm sure the guy was like running and then he'd like shot him. The guy just falls out. And you know, I feel like they obviously didn't show him shooting the guy and him falling out, because it's like I don't know how we'll make this look realistic. But this is where we get the line that we said earlier. It's like did you kill him? No, I shot him. Bullets in the fall killed him just a great hilarious line, tom cruise like kind of like secretly, a very funny actor.
Speaker 2:Um, so yeah, and then max is like I'm out of here, dude, but at this point, okay, so they go, and then, right after this, they get pulled over by the police and they're like your window's smashed. Uh, I feel like if tom, if vincent is such a great killer, he would know that you can't drive around in a beater. Yeah, he's trying to kill shit, yeah, but I think it's.
Speaker 1:It's kind of the point of just like shit already got this guy on the line like I got a gun pointed at him. He's, he's so much of a pushover. He's just gonna do whatever I tell him but it's like what do you do? No, he's like. No, jamie fox, they're in a movie, baby he just could just call another cab. Yeah, that's what max is saying it's like just get another cab you'll never hear from me, but I think the whole point is he's gonna make this guy drive him around.
Speaker 2:I think he's gonna kill him at the end sure so I think it's just like we kind of hit it the other cab driver and he's just like look, this guy's good at his job and I need him to get me to place the place. And it's a clean cab, probably like the only clean cab in LA, exactly.
Speaker 1:I think he found the perfect person to drive him around and he knew it. He's just like shit, I can't do anything else.
Speaker 2:He's got like mints in the back.
Speaker 1:Yeah, Mints, mints and water. That's why he had the water to pour on the thing. But yeah, so he coerces Max at gunpoint to hide the body in the trunk, clean up the car and continue with their arrangement. It's fun, I love it. Why couldn't he have just left the body there? I guess they just didn't. I guess they were hoping like nobody would have heard or noticed and was just like they didn't want to put things together quite yet. It's like it took, cause it took them a little while to find out like, oh, what's the importance of this guy? And it wasn't until they saw the FBI guys later that it's like oh shit, this is a very specific thing. Yeah, Um. So then we see Ray Fanning, Mark Ruffalo, baby Hulk himself. He arrives where Vincent made the kill and reveals the victim was a police informant. Then we cut back to Vincent. He tries to keep Max calm. He's freaking out.
Speaker 2:I thought it was kind of funny too, when they're all at the crime scene with all the shattered glass everywhere, yeah, and they're just standing in a car shaped circle of glass.
Speaker 1:Yeah, it's great. Where did this come from? It's like how could this be Damn? Could there have been a car here?
Speaker 2:Somebody spilled a bunch of glass over here. It's making my job really tough.
Speaker 1:I love when Max is kind of freaking out. You have Vincent. He's like Max. Six billion people on the planet. You're getting bent out of shape because one fat guy. Here's the thing. He calls the guy fat when he falls out, calls him fat here, and then later on he calls a couple other people fat. Vincent hates fat people.
Speaker 2:He's constantly dissing people for their weight. He's always fat shaving.
Speaker 1:It's like damn, um, yeah, okay, that was it. I had more quotes, but I was just like we can just get away from this. So Max is pulled. This is where Max gets pulled over to the police. They're about to be like they're asking him to get out. Vincent's like. When they get pulled over, vincent's like alright, get us out of this, otherwise I'm gonna have to shoot him.
Speaker 2:He's like man, don't kill him and he's like as the cops are walking away.
Speaker 1:looks like a nice guy. Looks like he might have out of this, Otherwise I'm going to have to shoot him. It's like man, don't kill him, it's like as the cops are walking away.
Speaker 2:Looks like a nice guy. Looks like he might have a family.
Speaker 1:It's so funny.
Speaker 2:Very manipulative. Yeah, it's pretty funny.
Speaker 1:I just love like the way Tom Cruise is he just like he does really well like exuding confidence? Unearned confidence and officers are like you can't dude, you can't drive around in a cab like this. This thing is beat to crap now.
Speaker 2:And there's a body in the trunk.
Speaker 1:Yeah, and they're like going to investigate the car, but then luckily there's some fire like some gunshots, and they have to go.
Speaker 2:And I guess if you just wait long enough, someone will get murdered. Yeah, in LA.
Speaker 1:It's like officer, do you mind if we take five minutes to see if you get another call, please? So they end up making it to their next stop slash victim. Vincent then leaves Max tied to his steering wheel in an alley and then dispatch calls and Vincent helps him out.
Speaker 2:He gets to. Yeah, I love how Vincent's like he doesn't know that cab drivers have to talk on the radio sometimes.
Speaker 1:He's like what?
Speaker 2:is it with these people trying to check in on you?
Speaker 1:I know, Well, truthfully, until I saw this movie, I was like oh yeah, that makes sense.
Speaker 2:It would be somebody. Yeah, they'd have a dispatch, cause I a dispatch shot Because I was like, yeah, that makes sense.
Speaker 1:You know, when you get like a, when you call the taxi number, they probably have someone that has to tell you hey, this location, go pick them up, they're going here.
Speaker 2:And I was like never thought of that, and then they sing the. We got a great big convoy.
Speaker 1:Yeah, now I want that movie. So, and like the Essentially, dispatch gets a call that the car has been wrecked and he's shooting him out saying you're going to have to pay for the car now. And then Vincent which is kind of funny that he's like Standing up for him.
Speaker 2:Yeah, it's fun.
Speaker 1:He's trying to teach Max how to stand up for himself and be a go-getter, and that's what made me like him. And it's like damn it, vincent, I know you're going, but yeah, he's like gets Max to call his boss an asshole and that he will stick the yellow cab up his fat ass, fat ass. He did it again. He didn't even meet this guy, but he knew that he was a bigger guy.
Speaker 2:I think everyone in LA is like that right.
Speaker 1:I don't know, aren't they all like?
Speaker 2:Every single person fat shames in LA.
Speaker 1:I guess if you're born there, you're all just like the most beautiful person you could be, cause you want to go to LA to get a career. I don't know, um, but yeah, this is so good. Whenever you like, you're like hell. Yeah, max and Vincent. Yeah, they can do it together, and it's just like Vince is confident, max is not.
Speaker 2:I thought it would have been a great time to pivot Jamie Amy Fox's career to a contract killer. And then they work together.
Speaker 1:Yeah, while watching this the whole time, I'd be like, look Max, now that you know he's a contract killer, ask some fucking questions about his life. Dude, if I was in this scenario where I'm like, well, if I'm going to die, I'm at least going to figure out about this guy's life and, like how he got into the business, why he does what he does, I'd ask a billion questions. He'd be so you know what I'm getting? Another cat He'd be like can you show me how to do this? Yeah, this is awesome. I noticed you like to shoot twice in the chest and then once in the head. Have you ever thought about shooting the head first?
Speaker 2:No, you got to stop the heart because you can survive a head wound, a head shot.
Speaker 1:Well shoot him twice All right, so as Vincent goes to murders in eternity. Sylvester Clark. Max calls for help from a group of passerbys who proceed to rob him in Vincent's briefcase.
Speaker 2:I love it.
Speaker 1:It's like out of all people who had to walk up. You got the criminals, but hey, like if I was walking in LA I'd be like I'm not going down this street where there's a car like honking. At least you had a buddy with him. Yeah, always have a buddy. Always have a buddy with you. Especially when you're robbing people. It's just like I don't know I'd be like. Nah, this seems like a trap.
Speaker 1:I'm not going in here, Unless you're the type of person that's going to rob that car, they would go in there. But I love it. They like steal his briefcase, like give me your wallet.
Speaker 2:it's like I'm tied to the shore. What are?
Speaker 1:you talking about. It's great yeah they like make him get up, take his wallet and then take the briefcase in the back. Tom cruise comes out. He's like yo, homie, my briefcase, I love. I love hearing tom cruise say homie, talk young and hip you know, it's so great, yo homie um. And then, yeah, he just shoots him dead. Pretty quick and easy that was awesome.
Speaker 2:Thanks everything. That other guy was just like bad, bad timing for him.
Speaker 1:He didn't do anything. Dang, I should've. They had like a total of four people. Luckily, two of them were like.
Speaker 2:I just feel like a Tom Cruise is nearby.
Speaker 1:I'm out of here so they stop to get gas. Vincent tells Max he's going to buy him a drink at a jazz club. And you're like man, this is really becoming a buddy movie.
Speaker 2:I was really hoping it would have been Absolutely To Max. It's like a chagrin. He's like.
Speaker 1:I don't want this to be a buddy movie, You're going to be my buddy.
Speaker 2:Yeah, because I got the gun.
Speaker 1:Yeah, so we cut to Fanning at the first crime scene investigation as an adult, it's really hard to make friends it really is it really is? You just got to make the friends you see at work.
Speaker 2:You got to point a gun at them until they, you know, figure it out. That's how I got all my friends and my wife. She keeps coming back yeah.
Speaker 1:That's the work. So we cut to Fanning. He's at the first crime scene. They learn that a cab and two guys were around. Fanning has a sense that someone is making the cab driver drive around so someone can shoot people. Also, you know, like Fanning's little like partner I guess that's kind of around that he's talking to at all the crime scenes. Yeah, that's Peter Berg. Oh nice, he did the Rundown Lone Survivor. That's the director of those movies.
Speaker 2:This is funny.
Speaker 1:We did one of his movies. This is funny. We did one of his movies, isn't that fun? And I didn't realize that was Peter Berg. I was like shit. I've seen him in a lot of movies. He's kind of one of those guys where you're just like I know that guy from something Cameo, yeah. So Vincent then brings Max to a jazz club to drink with the club owner, daniel Baker. I know we talked about not really two people that don't really care about jazz, right, but I love this whole story and like the way that Max and Vincent are like kind of getting wrapped up in it. They're very impressed and you're like damn it. I know Vince is going to kill this guy, but it really makes it feel like you don't. He doesn't really want to kill him, he's just hired to do it and he's got a job to do.
Speaker 2:Yeah, because he he's just hired to do it, and he's got a job to do, yeah, cause he finally found like another jazz buddy, yeah, and then do you think he would've let him live if he would've gotten the right answer? I don't think so.
Speaker 1:No, he just did. He's getting paid to do it yeah, he's gotta kill him but I think out of everybody he kills in this, he's the one that he's like shit this guy played with.
Speaker 2:Miles Davis. I don't want to kill him Because it was kind of sweet he killed him and then kind of lowered his head to the table.
Speaker 1:Yeah, and like after the whole story. Then suddenly Tom Cruise is like yeah, yeah, I've been to this place and this place. And Daniel's like fuck, I'm dead. Immediately he says I'm dead, but it's so cool. I love that, Just like the immediate turn of the dead. But it's so cool. I love that, Just like the immediate turn of the conversation. Michael Mann's so good at that in his movies. Hell yeah, he's just like oh, we're all having a good time, and then the one guy having a great time is no longer having a great time. Yeah, so his whole story was like how he got to play with Miles Davis and Miles Davis was really hard on people that wanted to talk to him. He like wouldn't let even a kid.
Speaker 2:talk to him yeah.
Speaker 1:And then he said he actually got to play with Miles Davis one time. And Miles Davis, all he said was cool, which to him meant it's like you're good, but you're not great. And once you get great you can come play with me. And Vince is like well, but you're not great. And once you get great you can come play with me. And Vincent's like well, did you ever get to? He's like no, I got drafted this and that and then just life happened and he never got to do what he wanted to do, just to shoot jazz people. Spoilers for later. It's the point of the movie.
Speaker 1:So Daniel is set to testify against Vincent's client. Vincent drops that he is there to kill him. Max pleads with Vincent to let Daniel go and Vincent bets that Daniel cannot answer a question about Miles Davis. And it's all about like where he learned to play. And he tells him this Juilliard. He went to Juilliard and stuff. And then unexpectedly, vincent shoots Daniel on the head, dissatisfied with his answer, because like went to Juilliard and stuff. And then unexpectedly Vincent shoots Daniel on the head, dissatisfied with his answer, because like, as after he like lays him down, he says like three other little facts about how he, like he, dropped out of Juilliard and went to go play with someone else.
Speaker 1:Yeah, and he's just like, I fucking know more than you. You had to die.
Speaker 2:This is what they should do when people get bad answers on a game show.
Speaker 1:Yeah, it's like Alex Trebek, it's like he's killed so many people in his life. But then Max pretty much just panics like just find someone else who cares and Vincent punches him or kind of punches him a little bit, chokes him sexually a little bit.
Speaker 2:Yeah, this is great.
Speaker 1:I had an erection and then Dispatch is calling again. It turns out Max's mom is constantly calling Dispatch, Learning of Max's nightly visits to the hospital to see his mother. Vincent insists Max visit his mother, Ida, in the hospital to avoid breaking routine.
Speaker 2:I think he'd break your routine. You've already broken a routine.
Speaker 1:This was a very fun scene. It's great His mom sucks. Yeah they go to the hospital. Max buys his mom flowers. Well, vincent, does he's like you have to buy your mom flowers and he's like she won't like them. She doesn't care about flowers.
Speaker 2:She said it's a waste of money.
Speaker 1:Yeah, and so they go into the elevator and then Fanning gets in with them and it's like I'll walk in love when this happens. Like why is he in the?
Speaker 2:hospital though.
Speaker 1:Well, because he's going to visit the second guy that got killed. Yeah, so, and then?
Speaker 2:Look at those sweet, sweet bodies.
Speaker 1:Vincent and Max. They get out, they go to visit his mom and she immediately doesn't like the flowers. He's like, told you, yeah. And then she's just kind of talking about how, like, oh, max is so quiet and he's a piece of shit, yeah yeah, yeah. You know, just classic, classic parent putting down their kid in front of a company, which is the worst?
Speaker 1:Yes, Vincent pretends to be Max's colleague and develops a rapport with Ida. It's great because Tom immediately brings the charm. It's like that weird charm that Tom Cruise has, even though he's like a weird guy, you know.
Speaker 2:Yeah, I mean, I've got that charm that only kicks in when elderly people are around. Yeah, they love me, it's true.
Speaker 1:Like I can usually get like a mom or dad to like me. It's true, like I can usually get like a mom or dad to like me. It's like it's some sort of ability. I think they know that I won't cause problems, yeah.
Speaker 2:Safe boy.
Speaker 1:Yeah. So at the hospital, ida proudly tells Vincent that Max has his own limousine company, revealing Max has been lying to her for her approval. That's probably good, because you're just constantly putting them down and I'm sure he's just like oh yeah, well, I have a limousine company and you can't see it because you're in the hospital I ain't driving you nowhere, mom yeah and then uh, as the mom keeps just talking, just kind of being kind of shitty about max uh max gets upset, who then runs out with a briefcase and tosses it off a bridge onto the freeway.
Speaker 1:Great cinematography the whole way through that, uh, yeah I was.
Speaker 2:That was so weird, I, that he threw out his bag. Do you not lick in the bag first? Yeah, what if there was just like something cool?
Speaker 1:yeah, what if this is like a million dollars? Like shit?
Speaker 2:yeah, maybe I should have just bought a gun and killed him, killing him on wheels is ready, but I love it.
Speaker 1:He's just like that's what changes, max. A mom talking about him.
Speaker 2:She pushed him over the edge. Every mama's boy's like Every night he goes to see his mom. She pushes him to the brink of suicide.
Speaker 1:It's like, oh yeah, you need this fluid. I'm taking it and throwing it up.
Speaker 2:This bridge Throws this fluid. I'm taking it and throwing it up this bridge.
Speaker 1:He throws it up the bridge, yeah.
Speaker 2:It's just littered with IV bags and insulin.
Speaker 1:It's like the same semi-truck keeps having things, hit it Every time, every night.
Speaker 2:It would be funny if he just reached out to grab it as it fell, because he just knew.
Speaker 1:Yeah. So then we cut to Fanny, who's arriving at the hospital morgue to see the bodies of criminal lawyer Sylvester Clark, Vincent's second target and the two dead robbers, and realizes that this is the work of a hitman, because the two in the chest and one in the head. Well, the morgue person tells him.
Speaker 2:Yeah, I feel like he's just being the most annoying morgue guy. Yeah, really.
Speaker 1:I thought he was a pretty good morgue guy.
Speaker 2:He's just being the most annoying morgue guy. Yeah, really, I thought he was a pretty good morgue guy. When a cop shows up to do his job, his detective work job, he's like here's what I think. I feel like the cop would have been like I don't give a fuck what you think.
Speaker 1:I know what I'm talking about. I guess it's just like one of those things where it's like you don't seem to be noticing the fact that there's two in the chest and one in the head, by the way. Well, because um fanning says like. He's like oh, I don't want to see these two guys, I want to see the next one, because I'm looking for a specific person he's like well, I think this one is with your specific one, because they have the same type of wounds yeah yeah, smiley face and bullet holes, so like everybody.
Speaker 1:Everybody that like works in a morgue is just like fucking Team Jesse now.
Speaker 2:And it's like so not Team Jason.
Speaker 1:They're so into true crime. All the dude, yeah, and if I worked in a morgue, I'd just be like listening to like true crime podcasts and be like yeah, like making up stories for the corpses, Like making them talk to each other, and then the cops show up and he's like well, I'm actually uh professional in this. I know everything that happened with this tells this whole long story and it's like guy just fell out of a, just actually tripped do you think while they're doing these autopsies, you don't have to cut their chest open?
Speaker 2:do you think they ever stick their hand up their throat? Make your hand their face?
Speaker 1:talk like a puppet here's what I will say about that. It's definitely probably happened once. There's got to be one psychopath that works in a morgue I'm sure there's more than one. It's probably something they do in like it's like they're at like morgue school or whatever school. You go for this and like, all right everybody you get to do this once, and only here, because we know everybody that joins this business wants to do it once. Everyone has a dead body near them.
Speaker 2:You have an hour to talk as a puppet. You have to take a ventriloquist course as an elective.
Speaker 1:Well, what people don't really know about Jeff Dunham is that that's how he got started with corpses, and it's just like one day like it was the day when he's training in college. He's like he got to do an old man. Why is he so racist?
Speaker 2:And he, just like he just ate a jalapeno and it was on a stick.
Speaker 1:Is this Jeff Dunham bit going anywhere? I feel like it's really not. He's just digging up graves. I feel like this is something I do often with my wife and I have to apologize if I start going on with it. Okay, so they're back in the cab. Vincent's like well, now you fucking had it, because you're going to have to do stuff for me now.
Speaker 1:But in the cab they kind of start to All my homework was in there, yeah, but in the cab they, but then the cow. They kind of start to bond. We learned that Vincent had a shitty father and no mother. He jokes that he killed his father. Max is like really. And he's like no, I'm just messing with you. We think I'm a cold hearted killer. A lot cooler if you do, yeah. And then Max finally tells Vincent about his island island on wheels, idea, full of sand. Yeah, it's horrible, it's like and this is where you're kind of getting their backstory. You know so how it's not like a usual movie.
Speaker 2:Usual movie, they'd probably all find out about this before the action starts that he's trying to kill witnesses.
Speaker 1:Well, yeah, we'd probably know what Vincent's doing before and then all of Max's life before this. We'd have a monologue or something, but I kind of prefer doing it like this, it's like.
Speaker 1:It's like we're on the go, we're getting point to point. This is perfect time to just kind of unload some dialogue. Plus, you just got two good actors doing it, so it's great. So, with vincent's target list destroyed, vincent forces max to meet drug lord felix ray as torina, I think. Uh, threatening to murder max's mother Otherwise, if he doesn't do it and I love it because like Max is like all right sits there.
Speaker 2:I thought you were going to come on, yeah.
Speaker 1:He's like all right, how long have you been doing it? He's like six years. Like is there insurance? You get a pension? It's like Vincent's like stop, stop stalling, just go.
Speaker 2:That was a really good idea from Max though, yeah, trying to get, yeah, and then it's also kind of a great joke at the end after he visits Javier Bardem.
Speaker 1:So as Max goes in to see Felix, we get a close-up of the camera, kind of moving, and then we see that he's being watched by two FBI agents as he's walking through the club. So Ray Fanning uncovers the connection between the victims, so you know that they're all being killed by the one guy, and so he goes to, uh, special agent frank pedrosa I think is how it says who identifies the targets as witnesses for the pending indictment case against felix and is watching the cameras at felix's place.
Speaker 1:Yeah, so this is like who that they're trying to indict and that Jada Pinkett Smith is going to be going to court against.
Speaker 2:So that's what the whole point is.
Speaker 1:And that Vincent is killing all the people that would get Felix put up. It's all about drug sales and stuff. It's just a big drug case. That's what's going on. And Felix has all the money in the world because he sells drugs. So he hired Vincent to do it. And Max is going in to meet Felix. And because Felix gave Vincent all the information because he you know, felix has all these people that can find out all this information and he gave it to him in that little briefcase.
Speaker 1:But because Max threw it off the road and all got destroyed, max has to come back here, get the USB drive, listen to this whole monologue about Santa Claus and Black Peter. It's great. Bart M is great. And then you know, as Fox goes in there, he's like all like meek and like I have a contract killer. He's like mumbling. He's like I'm sorry. Uh, yeah, I have a contract killer. He's like mumbling. He's like, uh, I'm sorry for it. And he's like sorry. But then, like, as he told the story, all of a sudden, like you see, everybody behind Max put their hand on their gun, and it's just like tell these motherfuckers to get their hands off their guns before I beat their asses with it and it's like Jamie fucking fucks baby.
Speaker 1:He's being how he usually is in movies.
Speaker 2:It's great, it was funny. He was like you know what, for your trouble, just knock off 25%.
Speaker 1:You know what Make it 30%. You know I'm good at it because I've been doing it for six years. It's great. Oh, I love the scene. Somebody hands him an oscar yeah, it's like he looks at it. Oh for ray, I'm max. It's like you're both and it's like you're goddamn right, I am, don't you forget. No, but this was such a fun scene because, like you know, you go in. You're like max is gonna fucking die, there's no way.
Speaker 1:But he just like turns man, I guess no one has ever seen Vincent before, before yeah, he says that it's like it's like the people I work for never meet me and I'm going to keep it that way. It's also because he knows like people are probably planted outside like waiting to see who's all going in so they can know who Vincent is. Because it's smart. Baby, this movie is smart and your opinion about it is wrong. Just kidding. Just kidding. Everybody's opinions are valid unless they're bad opinion, yeah, unless they disagree with me, no, but I really do. I love this scene. It's just I don't know. It's great writing, great acting.
Speaker 2:okay, I wish I wish that vincent would have. He would have told vincent that he just gave him 25 off or 35 yeah and he's like, oh well, that works, you don't? Really find out what, because that could have been a funny moment.
Speaker 1:Yeah, I would have been ingrained to be like as Vincent's dying at the end. Yeah, that would. Yeah, it's like you know you really weren't going to make that much money off this anyways, I kind of lowered your price, but yeah, so so he gets out of Vincent, plugs the flash drive into the cabs computer. Vincent and Max acquire the details to the next target, korean gangster, peter Lim, who is at a nightclub Love that they're just going nightclub to nightclub Love it, it's fun. So the FBI agent thinks that Max is the hitman now because they could hear that he's saying his name is Vincent based on the surveillance that they had on him, and orders the FBI agents to go and protect Lim.
Speaker 1:Fanning thinks they got it wrong, though, and that Max is not the hitman. And it's like, yeah, would the hitman be wearing jogging pants and be a registered cab driver? Yeah, it's like no, this is just a great ploy. Drives cabs at night, just like that other driver. Yeah, it's like, nah, this is just a great ploy, he drives cabs at night.
Speaker 2:Just like that other guy yeah.
Speaker 1:So or no? What'd they say? It's like no, he probably just killed someone that looks a lot like him. I'm like what? There's like oh luckily I got to LA and found's like saying life is short and he should call if they all make it out of alive, um, and then they stop in the middle of the road and we see coyote walk across the road. They both stop and stare while shadow on the run by audio safe plays and I'm just like in my veins pumping in my veins.
Speaker 1:So we did talk about a little bit about um the coyote and, uh, do you think it's silly that we just had like stopped the movie to play audio slave and watch a coyote? No, I thought it was kind of cool. Do you feel like you feel the meaning by it?
Speaker 2:uh, not really. Yeah, I mean I I never really got the idea that he would, that somebody was supposed to be a coyote yeah vincent the coyote and why is it?
Speaker 1:I think they're both seeing something on this coyote, but it's completely different, like I think that, uh, I wrote it down. I don't really know a whole lot about it's kind of you know they're out at night you know, los angeles used to just be a desert right, there was nothing there, and then they kept building and building. Now you got all this wildlife just running around in this big city.
Speaker 2:Because he said he hit a deer. Yeah.
Speaker 1:And it's kind of like Vincent is this coyote who's just going through and you know, through the shadows is going killing people, getting his prey, yeah, and for Max, I think it's like Because most coyotes dream about For Max, I think it's him seeing this coyote in the middle of somewhere where it doesn't belong, yeah, and it's just like he's just trying to find food and live Right and like that's supposed to be his catalyst, is like I got to be something. I can't just be wandering these streets at night. Nice, look, it's like looking for his purpose, like that's kind of what the coyote is doing.
Speaker 2:I feel like I just said nonsense. Maybe I don't know, but I know for me to decide it's better.
Speaker 1:It was better in my head while I was watching the movie. Sure, yeah, they're just kind of both seeing like two different things, but it's kind of also the same thing at the same time. Yeah, I don't know, it's great that was unscripted, but the beauty of the film camera they had is that all they had to do is just stop film that coyote walking across the road.
Speaker 2:This is an unscripted coyote. Yeah, it was a random coyote that walked in front of the road and they're just like fuck.
Speaker 1:This is good. Luckily, we have this awesome camera that can just see everything at night.
Speaker 2:It would be funny if they just released a bunch of coyotes into LA.
Speaker 1:Yeah Go, coyotes, we got to get the shot. We got one chance. People walking on the other side of the street oh my God, fucking coyotes. So anyway. So the FBI assembles a force to secure witness Lim and converges on a crowded nightclub simultaneously with Vincent, who, in turn, is being followed by Felix's men. Vincent manages to get into the nightclub and execute all of Lim's guards, felix's hitmen and Lim himself, before slipping out of the club amid the chaos. The FBI are so preoccupied with Max that they completely miss Vincent, just kind of like cruising through the chaos, just killing everybody, because they're like that one guy, pedroza or whatever his name is.
Speaker 2:Like there's Vince and it's actually.
Speaker 1:Max, and then the FBI is fighting with, like the bodyguards of Lim, and then like, shoot the main FBI guy. And it's like is this like the best case scenario y'all could have came up with? But I love it because there's so much chaos in all of it. And one thing I had is like, through the whole fight, like Liam's just sitting there Liam, or whatever his name, was Just sitting in that little like recliner or couch he had and it's like get up and run, what are you doing?
Speaker 2:Go, don't just keep sitting there just watching the chaos this is obviously all for you.
Speaker 1:This is awesome, um, but yeah, and it's a great little fight. I love it. You know, like the crowded things tom cruise is going through and like killing, all these guys are like little, that's awesome and yeah, and like two of them get his gun and like they beat it out of his hand, but he has a little knife and stabs him on. It's like metal, it's a very it's cool, like fast paced and like I don't know. It's like a overload on your senses and it's just like this is what I want, because it's been kind of a quiet movie, pretty much.
Speaker 1:Sure, yeah, um, yeah, great scene um Max and smuggles him outside. I fucking hate this part. And then Fanny's running out and he just shoots him and it's like Not Mark.
Speaker 2:Ruffalo.
Speaker 1:He's just a likable guy. Sit on my face, Hulk.
Speaker 2:Smash me, mommy.
Speaker 1:But it sucks, he's dead. Following their getaway, max pushes him out, pushes him on why he had to kill Fanning, because he could have had a family. Vincent says none of it matters. Vincent, get with it Millions of galaxies, of hundreds of millions of stars and a speck on one in a blink. That's us lost in space. The cop you me who notices it's just like. He's kind of like, seems like a guy who just fucking there's us lost in space. The cop you me who notices it's just like. He's kind of like, seems like a guy who just there's no faith in humanity.
Speaker 2:He's a.
Speaker 1:What do you, what do you call people who just don't believe in anything Nihilist? Yeah, now it seems it's like a nihilist character. It's like none of this matters. I can kill whoever I want, because you know what? We're all just going to die one day anyways.
Speaker 1:Hell yeah, I love it, um, but yeah, that's what psychopaths should think, yeah, so, um, the two get into an argument over their lives in which Max openly views Vincent as a psychopath and Vincent accuses Max of being too passive in life. Vincent, someday, someday, my dream will come. One night you will wake up because, um, max says, like someday I'm gonna do something or whatever, and one night you'll wake up and discover it never happened. It's all turned around on you. It will, it never will. Suddenly, you are old, didn't happen and it never will because you were never going to do it anyways. You'll push into it into memory and then zone out in your uh, barco lounger being hypnotized by daytime tv for the rest of your life.
Speaker 1:Don't you talk to me about murder. All it ever took was a down payment on a Lincoln town car. That girl you can't even call that girl what the fuck are you still doing driving a cab? Because, yeah, they're kind of. He's in an argument and he's like you won't even do what you're trying to do, could have just bought a car and done it. It's like no, no, it's got to be perfect.
Speaker 2:you know, it's kind of like when we started this podcast, we had like 10 episodes down and you're like are you ever gonna like release the podcast?
Speaker 1:and I was like it's not perfect yet and then eventually it's just like one friday is like I just gotta do it, you just gotta release it, yeah. So if you want to do something, guys, just do it just do it. But yeah, do it.
Speaker 2:But yeah, fucking rolls out, yeah, I do like his pessimism of humanity and I think that's kind of the point of this is like he believes that he is above, he is outside of humanity, yeah, and that gives him this righteousness to kill people with no regard. Yeah, it's like if you were.
Speaker 1:If you just, it's like if you weren't raised, right, you become Vincent, right, it's like it's okay to have that outlook where it's like nothing really matters, I can do whatever I want. So I should just do the things that I want to do, but, like, hopefully you're not a person that is fine with killing people, right, you don't want to have that attitude with it. But yeah, I mean, there is like a little bit of a point to it. Just minus the murder, it's like, yeah, man, you're just going to go your whole life Like nothing fucking matters. Dude, just do what you want to do, and if it doesn't work, it just doesn't work.
Speaker 2:You can always kill people Like shit, hit man, man.
Speaker 1:It kind of feels like we know what the point of the movie is, Can't wait to get to it. So, and Max finally snaps.
Speaker 2:He's like God dang it. He just hits the gas. Yeah, he's like.
Speaker 1:So he speeds through empty streets and deliberately crashes the cab. They're all turned upside down. Favorite part of the movie right here.
Speaker 2:When they're fighting over the gun.
Speaker 1:Like well, so like Vince is is like he can't find his gun. It's on his wallet. So he just grabs this like piece of metal and he's like turned upside down and starts hitting Max. And Max is like ow, ow, ow, oh god, it's so good, dude, it's the best, like brothers fighting. I completely forgot that happens.
Speaker 2:I was like ah, it's so funny.
Speaker 1:It's just like the little just seeing his wrist is going. It's like he's so mad he wants to kill him, but he can't.
Speaker 2:This is all I could do right now.
Speaker 1:I also think that he just really didn't want to kill Max.
Speaker 2:I don't think I liked him.
Speaker 1:I think if Max has let him kill all these people, you just he might've let him go. Yeah, I don't think he like thought that Max would go to the police about it at all. So maybe you should, because maybe he should just make it a regular thing where they go hang out. Yeah, I'd be like Next time you're in LA, man, give me a call and we'll kill some people. Also, can you give me a different name and look, please, because cops know I've been around.
Speaker 2:So Vincent takes off on foot before a police officer arrives at the wreck and notices the corpse in the trunk.
Speaker 1:This poor guy. I fucking hate when people notice corpses in my trunk. Max spots Annie's profile on Vincent's open laptop and realizes she is Vincent's final target man fuck that sucks right.
Speaker 2:Hang on, kill your best friend's girlfriend.
Speaker 1:I know it sucks. He overpowers the officers and takes Vincent guns before running to Anne's building and her office. I love it. He's like I just watched a hitman do this all night. I think I can kind of just do it if I have a little bit of confidence, right? Yeah, so he calls her to warn her as Vincent is going through the building looking for her. She believes him because he's like hey, annie, what up girl? By the way it's like four in the morning.
Speaker 2:Do you like?
Speaker 1:remember me? I'm that guy in the cab. So funny story. I've been hanging out with a hit man for like five hours. So you like get coffee later.
Speaker 2:This is the craziest thing. He wants to kill you.
Speaker 1:She's like I was like I know her. Yeah, she's like, uh, it's a little too call, too late for a booty call. Get out of here, boy. Um. But yeah, and he's just like this guy's like gonna kill you and she like leaves him pretty quickly, which is nice. I hate when it's like movies and it's like I don't believe you and it takes like 30 minutes of the movie for him to finally believe horror movies. Love to do it and I hate it. Yeah, it's like in a horror movie where a kid's seeing ghosts all the time and it's like nobody believes them. It's like can we just have a movie where they believe him immediately?
Speaker 2:it's the best. I hate when we get through the boring, stressful situation of no one believing somebody well, the problem with kids is you believe in in once, you're going to have to believe in forever. That's true.
Speaker 1:Oh, you got to. Oh, there's a ghost in here, oh it's like oh, I guess there's a monster under your bed every night too. So yeah, so yeah. Vincent's going through the building looking for her. She believes Max and she's going to leave. Max has eyes on Vincent and then his phone cuts off. Bum, bum, bum. Max manages to get into her office where Vincent has cut the power, as Annie calls the cops. We get a little cat and mouse chase in the dark between Annie and Vincent. He like falls on a chair.
Speaker 2:That was funny. Yeah, so that wasn't. What was he trying? To jump over it? I don't know.
Speaker 1:So apparently it wasn't, um, it wasn't scripted, it just happened. And Michael Mann just like thought it was kind of funny and left it in. It's like well, he was just in a car accident, so his senses are probably a little off. He also just got shot, yeah.
Speaker 2:Uh, yeah, that's about to happen, yeah.
Speaker 1:Yeah. So, um, max, like right at the last second, as Vincent's about to shoot Annie, and like shoots him and they're able to escape, they get out, they board a metro rail train.
Speaker 2:I thought it was really cool and it happens a lot in this movie. Usually like when you about to kill somebody, there's some kind of dialogue and then that gives everyone time to shoot you. But in this one he's like there's no dialogue before people get killed. There's a little bit with the jazz guy, but as soon as he gives the bad answer he's like pow, pow.
Speaker 1:Yeah, I think that's why the jazz guy that was the only person he didn't want to kill, because he gave him a chance even though he knew he wasn't. He's just like. I just want to know how much this guy actually knows about Miles Davis.
Speaker 2:You got to play with him. That should have been me. I hope he gets it right.
Speaker 1:I don't want to kill him. But yeah, so they get on a train with Vincent in pursuit. It's great they get on and then Vincent gets on like way later down the train. He's like traveling through and then the train stops and they're about to get out, but Vincent's like just immediately gets out, but not far enough from the door so they can get back in the train. He's sitting there waiting for him to get out.
Speaker 1:And Max is like fuck, ah great, love it. But they're left with no other option. They're on the last train car, so there's nowhere else they can hide. Max makes his last stand and he fires blindly as the train lights dim and flicker. Max mortally wounds Vincent in a shootout while emerging unscathed. Yeah, that was kind of wild. The one thing that took out Tom Cruise's character, vincent, is that he has a way of killing people Two in the chest, one in the head.
Speaker 2:Oh, he couldn't shoot through the door.
Speaker 1:Yeah, versus Max, who's like, I'm just going to shoot through the window, shooting blindly. And it's like ah, beautiful baby. So Vincent slumps into his seat and dies as he repeats an antidote. Heard earlier about a man who died on a train and went unnoticed for six hours. He's like, let's see how long it takes him. Max and Annie then get off the train in the next station in the dawn of the new day boom, they don't do anything, they just walk yeah, they just walk off.
Speaker 1:They don't even smooch. End of movie. Beautiful ladies and gentlemen, it's a great movie.
Speaker 2:Jason sucks I can't, I can't help with his opinions.
Speaker 1:Just kidding. But yeah, that is collateral jason. What's the point of clatter?
Speaker 2:I'm not really sure. I think some of it comes from Vincent's view on humanity and I'm not sure, maybe like chase.
Speaker 1:Jamie Foxx's character.
Speaker 2:Yeah, don't go chasing waterfalls, Exactly.
Speaker 1:I don't want no scrubs. I thought the movie is just like you got to take risks. It's about taking risks, having that confidence, getting out of your own way to do what you want to do. It's pretty much what Vincent was telling him the whole time. It's like dude, if you just don't do it, you're never going to do it. Yeah, but did he do it?
Speaker 2:Did.
Speaker 1:Vincent do it. He was doing his damnedest.
Speaker 2:He just didn't get the last one, but that's not what he wanted to do.
Speaker 1:Yeah, I guess that's kind of the ironic part. He just wanted to be in the jazz business but he ended up.
Speaker 2:oh shit, yeah, it's a movie about people who didn't do the things they wanted to do.
Speaker 1:One was a cab driver, one was a hit man. He's just really good at what he did, so he just kept doing it, just like Jamie Foxx, who's a cab driver, just kept doing what he was doing because he's good at it and never taking that risk to become a limousine driver. But luckily a hit man got in his car right.
Speaker 2:Showed him how to have put a gun to a cop, stole a guy's cell phone killed a hitman.
Speaker 1:Now he's gonna have a limousine business. So the point is everybody get out and about, follow your dreams. Just try not to kill anybody in the process or do you?
Speaker 2:know, if you have to look.
Speaker 1:We already heard Jason's opinion, so I don't think you should take his advice if there's a horse between you and your dreams, you know what to do. Jeez man. Remind me never to get you around a horse. Yeah, I like their podcast. It's just like they're just so anti-horse.
Speaker 2:That is a line in the sand that I will never cross.
Speaker 1:Out of everything they say on that podcast, that's the one thing I won't stand for. It's like yeah, their demographic. It's uh, it's pretty high on people who don't like horses, but horse lovers don't really like one of the last things my grandmother said to me before she died was that kill there was one of her neighbors her neighbor's horse kept getting onto her porch and it made her upset oh, that's fucking cool.
Speaker 2:I want a horse on a porch I stood up was like show me where he's at Show me where it is. Did a horse kill my grandmother? Yeah, maybe.
Speaker 1:Whoa did it? Is that why you hate horses? We figured it out, guys. I'll never know. Videos I love is whenever, like on reels, is whenever there's one where it's just like you know bears, just in weird places. Bears is whenever there's one where it's just like you know, bears, just in weird places, and like bears is on people's porches and people opening the door like, oh my god. And there was one where there's just like a moose standing on their porch and it's like fuck dude, there's not enough room on a porch for a moose. That moose could just break into that house easily, destroying everything. Yeah, so that's the point of the movie. Guys, do what you want to do, otherwise a hitman will enter your cab. Yeah, and nobody wants that. So what do you think of that? Think that's a successful category? Yeah, well, if the audience thinks so, let us know. There's a link at the top of the description where you can leave us some fan mail and the email at the bottom of the description.
Speaker 1:We recommend mailbag at gmailcom send it let us know if you think we should keep that category in. Thanks, so I think we should go back to our usual categories. First one the good, the bad, the ugly, the fine. It's where we discuss the good of the film, what we liked, the bad, something we didn't like. The ugly, something that didn't. I guess the good you're going to say nothing, just kidding.
Speaker 2:Go ahead. No, I thought what was good, what I really enjoyed, was Jamie Foxx.
Speaker 1:Yeah, he's so likable man.
Speaker 2:I don't know. I kind of like I hated him sometimes, but also kind of I don't know. I think he just did really good yeah.
Speaker 1:I think that's a lot of the point of his character. I think he's just a really good. Yeah, I think that's a lot of the point of his character. It's like you want him to like, make, like, be more confident, and then it's like but you know, it's a movie, we got to have a character here. And then, like, when he gets it and he's like, yeah, man, I can save the day, let's go You've, you've earned this.
Speaker 2:Yeah, and I always like a hitman. Oh yeah, it's the best.
Speaker 1:That's kind of what I had, except I just said everything. I thought Cruz he's great, he's. You know, there is that part of especially now because we know like Cruz is kind of a weirdo. There is that like sniveling weirdness about him that you're like, oh. But then there's also that like charm that you saw in this first 20 of his career, where you're like I get it, dude, show me the money. You know, it's like you complete me, I get it. Jamie Foxx he's I don't know man, the guy just is so likable, he's funny, and I just want to hang out with Jamie Foxx and Jada Pinkett Smith.
Speaker 1:You know I didn't really see a lot of movies with her. You know Scream 2, she's one of those Tales from the Crypt movies. Those are mainly how I knew her. But then I've over time watched more movies. Girls Trip she's amazing. That movie's hilarious. Girls Trip yeah, she's so good in that and honestly, she's another actor or actress that this time has not been well because of the stuff that comes out about her and it's like we all stop talking about your.
Speaker 1:Wasn't she gomorrah? No, that's uh zoe saudana. Oh, okay, yeah, she's uh shit miss uh fish mooney or whatever in gotham. Okay, I actually did not. I don't know, I didn't think I didn't watch that show sucks and everybody's bad in it. Yeah, sorry, if you like that show, all right. So, uh, what do you got for the bad? We heard a little bit, a little bit sure progression.
Speaker 2:Yeah, I didn't feel like there was much of a story here. Um, I'd feel like and every opportunity they had to to build like a story that I could get invested in, they just kind of forgot about it, moved on to the next thing.
Speaker 1:I guess it's more of a character-driven story, not as more of a plot-based story. Does that make sense? It didn't have a plot. Yeah, that's what I thought was bad about it. It has a plot. It's just like the plot isn't what the movie's about. I guess it's a useless plot. Well, I mean, I guess is a movie about You're making this real easy for me.
Speaker 1:Is a movie about a character, because, I mean, most movies are just characters who are learning it throughout their journey and they have like a character arc and the story ends. That's most movies. So it's like I don't know. The story is Jamie Foxx wants to have this limousine thing but then shit, a hitman comes in and it teaches him a lesson that he's just got to go for what he wants and it's like is that not a plot or story?
Speaker 2:I guess I feel like it would have been more interesting if Jamie Foxx becomes also a contract killer to get his dreams like and they start working together like.
Speaker 1:You're right, jason, that's a bit he could have had both.
Speaker 2:He could have gotten his limousine business and then just driven the people instead of to the airport.
Speaker 1:Take them to instead of island on wheels, it's hitman on wheels it's coffin on wheels you know? I mean I guess, yeah, he could have turned it if it all went well and smooth. It could have been like you know, max, I have an idea what if you didn't do Island on Wheels and you just drove around Hitman?
Speaker 2:Yeah, because that would have been a twist and there's, there's no ending to Jamie's or to Max's story, because you know he crashes cab, he probably gets fired, I don't know Because he's. And then Well, I think I mean Because he did kind of put a cop in handcuffs and steal his gun, you got to remember. So he probably goes to jail.
Speaker 1:Well, no. So he saved Annie, who is like a lawyer and stuff. He's going to be like, he's going to be like no, he saved my life. There's this dead guy on this train. This is the hit man, by the way.
Speaker 1:Here I have this USB drive that was in that thing I went to like he could easily explain everything, because there is the dead body that can be like this is Vincent dude, I don't know, I guess I just it's a different kind of film, but I still think it's a good story. Sure, yeah, it just maybe it's different than what your usual hitman cops chasing hitman and you figure out. You kind of first 15 minutes know what the whole plot's about. This is just like it's more about the characters and less about the story of the hitman.
Speaker 2:Yeah, it's the cab driver outside of the um plot right, but I also didn't understand a whole lot about vincent's character. He was so he talks about the guy that died on the train and he's like, maybe is that is it the reason he doesn't care about killing people, because people just don't give a fuck about each other.
Speaker 1:yeah, yeah, I think it's that nihilism that he has, where it's just like nobody cares about anybody else and I found myself wanting to care about Vincent, but I just couldn't. Yeah well, he's a killer. You're supposed to want him to die.
Speaker 2:Killers are kind of awesome sometimes. And he tries to be cool.
Speaker 1:And that's like an element to the movie where you're like, shit, the hitman's kind of fun to have around. But you know, it's like it's either Vincent's going to live or Max is probably going to die and it's like I got to choose Max.
Speaker 2:See, they could have had them both. They could have just been buddies. That's a completely different movie.
Speaker 1:It is. Yes, that was a fun discussion, though I do kind of like whenever you don't like the film that I absolutely fucking love and just think is a masterpiece, because I put as the bad nothing kind of a perfect film, but no, this is kind of like why Point Break is one of my favorite movies that we did and even Blowout, because you're like this movie is fucking whatever Jesse.
Speaker 1:well, I guess also the bad is it's kind of a boys, because you're like this movie is fucking whatever Jesse. Well, I guess also the bad is it's kind of a boys film. I feel like Michael Mann makes movies for boys. Yeah, because I'm just like no, it's about two dudes, criminals and stuff.
Speaker 2:you know, it's all about being cool with a gun and I never thought that Max's career was ever going to take off with the island cab he was never going to do it he was looking at the cabs. He was like they look like Honda Civics.
Speaker 1:Well, they're like Mercedes, yeah, the one, yeah, which you know, it's just because it's like it was around the time where, like, cars didn't look that cool, I guess yeah, I know, that was one thing I saw and I was like I guess you should.
Speaker 2:I think that was a part of it where it's like he's not even fucking looking. How are you going to party in a sedan?
Speaker 1:I think that was part of it. It's like man, the guy's not even actually looking at limousines.
Speaker 1:He's looking at four doors. You can call those limousines. I think that was the show. It's like man. He's not even like. What are you doing here? He's not even trying to get limousines, he's, I don't know. So the ugly what do you got for the ugly? I don't really have anything for the ugly, except for the way the mom treats her son. Yeah, I went on a it's more about the actors. Cruise went on a losing streak with his movies for a while and you know everybody thought he went nutso because he kind of did because of uh, scientology really got into him.
Speaker 1:He smashed that table. Yeah, um, fox, uh, jamie Foxx never took it to the next level, like after winning his Oscar. It's just kind of like man, you should be in like every movie like forever, and it's just like he never got into a movie. That was like, yeah, you should be being nominated every year for an Oscar, type of thing. And then, uh, jada, you know, she kind of just she's really strong in mid, like early 2000s and kind of went away and then, but you know, that's just how Hollywood treats actresses.
Speaker 1:Which is also part of the ugly, cool. So what do you got as the fine? I'm not sure I put. Cruz is a bad guy.
Speaker 2:Never really get to see it, oh yeah you do?
Speaker 1:Yeah, that is true, and this is kind of one of the first times and he's great at it. He's a perfect bad guy because he's a weirdo.
Speaker 2:Yeah, he is a weirdo. And even when he's trying to be a good guy, he's not good at it. I don't think, because I never really get the idea. Even idea even is in like mart of was it not mars attacks, but the one with the alien war of the world or the world? And he was just trying to be a dad, but he sucks at being a dad?
Speaker 1:yeah, he definitely. I guess that's why you put tom cruise in it, but uh, because I was like that's the point of war the world. Bad dad turns to good dad. I don't know. Yeah, um, yeah, there is a. There's always something a little off about Tom Cruise in all his movies.
Speaker 1:But, that's also kind of why he's a movie star, I guess. So, yeah, and then also said the look of the film. This is the first time I watched a movie that looked like this and I was just like holy shit. And then man did that in Miami Vice and it's kind of even better than that because it looks shittier. I need to watch that again because I haven't seen that. We're definitely, we're definitely going to do it and you're going to be like this movie sucks and I'm going to be like, hey, chica, no, it don't. Plus, they're in boats that go fast.
Speaker 1:I like Colin Farrell oh yeah, this is when he. That was, when he was like drunk as hell movie, um. But yeah, so we're gonna go to a double feature for you. Choose a movie that goes alongside this movie and be a great double feature. Um, did you come up?
Speaker 2:with anything I was trying to um and I just kept thinking about. For some reason I just kept thinking about the wayans brothers yeah, um, but another I was because jamie fox yeah like uh improv comedy and stuff like that yeah um, I chose the movie cellular.
Speaker 1:You ever seen it? Cellular? This is for you, babe. I'm talking to my wife here, not jason. So, chris ev, right, a woman gets kidnapped, right, and the kidnapper put her like in the attic and the kidnapper is going to go after, like her father or her husband and son or whatever. Yes, and then she just calls out yeah and calls the random person.
Speaker 2:Randomly calls Chris Evans.
Speaker 1:Yes, who is like I got to find this fucking lady. And then Jason Statham's like I'm going to kill you. Chris Evans, I'm in LA. Wow, that went Australian. It's a fun, fun movie. Yeah, it's great. I just remember like Natalie's watching one day and I was like holy shit, this movie is good. It's kind of one of those like I don't know, it's not like a critically liked movie, but it's just like fun to watch and it's very, very 2000.
Speaker 2:That'll be mine Double feature Transporter, because you didn't get enough Double dose of J-State.
Speaker 1:Yeah, that's a good one. So, yeah, go watch. I need to watch Transporter. I haven't seen that since I was a kid and I do not remember it at all, except for the fact that he transports things in cool cars. He does that, he's really good at it and he's very professional man Collateral. So I think if you were to do it, start with Collateral right Like you're awake, you know, still it might be late at night, I don't know. So you get like this more serious movie out of the way. It's got good action. You may be jason and not really like it, and then you go to transporter right. Then you go like I'm jason state, I transport things, and then that's like a fun action movie. And then you get to do a little silly movie and sillier and it's like a great night. Oh yeah, I planned your night.
Speaker 2:Everybody have fun fun Six hours of movies.
Speaker 1:But that's it, baby.
Speaker 2:That's collateral.
Speaker 1:Make sure you join us next week because we're going to another movie where someone shoots people in the chest twice and one in the head. We're doing finally doing John Wick. Yeah, dakota's going to join us. May see if someone else would want to come over and join us Sweet world of assassination. Fuck John Wick, dude. It's like one of the best action movies since, I don't know, Matrix, the last Keanu Reeves action movie.
Speaker 2:Since Point Break. Yeah, when he finally learns how to shoot. This is just the sequel to Point.
Speaker 1:Break. I can't wait to do John Wick tomorrow, so join us next week for that and, as I said earlier, leave us some fan mail. You know where to do. It's in the description. Come on, guys, and then tell your friends about us. Be like holy shit, man, that collateral episode was so good. I'm gonna tell all my friends about it and then, if they don't like it, you know what to do. Find Tom Cruise, tell them and then also leave us some reviews, please. It's great. It'll help people find us and I don't know.
Speaker 1:It's just like create a whole community. Then you go on like Reddit and then have subreddits and you can yell about how bad we are at this. I don't know, know, that's what some reddits for right um, I would like to thank Joey Prosser. You can follow him on x at, mr Joey Prosser. He did our intro and outro music and damn, uh, that's it. Um, this has been the we recommend podcast. I'm Jesse, I'm Jason. Um, bye you.
