Collateral [Soundtrack]

collateral [soundtrack]

Editorial Reviews
Amazon.com
Director Michael Mann's gritty urban thriller revolves around a Los Angeles cabbie (Jamie Foxx) taken hostage on his late-night rounds by charming mob hit man Tom Cruise. Mann's penchant for uniquely eclectic film scores has previously encompassed everything from the electronica-suffused world beat of Ali to the brooding, ambient post-modernism of The Insider. Here Mann effectively cobbles together an even more far-ranging musical landscape, one that echoes LA's rich multi-culturalism (the savory, nouveau Latin rhythms of Guero Canelo's "Calexico," Destino de Abril's sultry "Green Car Motel") while simultaneously paving its mean streets with a tough, urban groove. That mood is variously enhanced by producer Tom Rothrock and Antonio Pinto's alternately pulsing and brooding electronic soundscapes, the soul variations of The Roots and Groove Armada (the latter's "Hands of Time" featuring vocals by vet Richie Haven). Audioslave's "Shadows of the Sun" imparts a contemporary rock edge, while the standout "Spanish Key" from Miles Davis' fusion breakthrough Bitches Brew deliciously underscores the film's uneasy tensions. Masterfully stitching it all together are the nervy, rhythmically charged cues of composer James Newton Howard. --Jerry McCulley

Product Description
Tracklistings:
1. Briefcase
2. The Seed (2.0)
3. Hands Of Time
4. Guero Canelo
5. Rollin' Crumblin'
6. Max Steals Briefcase
7. Destino de Abril
8. Shadow On The Sun
9. Island Limos
10. Spanish Key
11. Air
12. Ready Steady Go
13. Car Crash
14. Vincent Hops Train
15. Finale
16. Requiem

Collateral,Various Artists,Green Car Hotel,Calexico,Hip-O Records,Original Score,Pop,Soundtrack,Soundtracks,Soundtracks & Film Scores

Collateral [Soundtrack]

Average customer rating:

Dvd film "collateral"
A great array of songs
Collateral
Some great music on here...
Lonely Wolves - One night stand

Collateral
Various Artists , Green Car Hotel , and Calexico
Manufacturer: Hip-O Records
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Heat: Music from the Motion Picture
Miami Vice
The Bourne Supremacy
Man on Fire
Bunkka

ASIN: B0002LJUCG
Release Date: 2004-08-03

Tracks:

Briefcase - Tom Rothrock
The Seed (2.0) - The Roots featuring Cody Chesnutt
Hands Of Time - Groove Armada
Guero Canelo - Calexico
Rollin' Crumblin - Tom Rothrock
Max Steals Briefcase - James Newton Howard
Destino de Abril - Green Car Motel
Shadow on the Sun - Audioslave
Island Limos - James Newton Howard
Spanish Key - Miles Davis
Air - Klazz Brothers & Cuba Percussion
Ready Steady Go - Oakenfold
Car Crash - Antonio Pinto
Vincent Hops Train - James Newton Howard
Finale - James Newton Howard
Requiem - Antonio Pinto

Amazon.com

Director Michael Mann's gritty urban thriller revolves around a Los Angeles cabbie (Jamie Foxx) taken hostage on his late-night rounds by charming mob hit man Tom Cruise. Mann's penchant for uniquely eclectic film scores has previously encompassed everything from the electronica-suffused world beat of Ali to the brooding, ambient post-modernism of The Insider. Here Mann effectively cobbles together an even more far-ranging musical landscape, one that echoes LA's rich multi-culturalism (the savory, nouveau Latin rhythms of Guero Canelo's "Calexico," Destino de Abril's sultry "Green Car Motel") while simultaneously paving its mean streets with a tough, urban groove. That mood is variously enhanced by producer Tom Rothrock and Antonio Pinto's alternately pulsing and brooding electronic soundscapes, the soul variations of The Roots and Groove Armada (the latter's "Hands of Time" featuring vocals by vet Richie Haven). Audioslave's "Shadows of the Sun" imparts a contemporary rock edge, while the standout "Spanish Key" from Miles Davis' fusion breakthrough Bitches Brew deliciously underscores the film's uneasy tensions. Masterfully stitching it all together are the nervy, rhythmically charged cues of composer James Newton Howard. --Jerry McCulley

Description

Tracklistings:
1. Briefcase
2. The Seed (2.0)
3. Hands Of Time
4. Guero Canelo
5. Rollin' Crumblin'
6. Max Steals Briefcase
7. Destino de Abril
8. Shadow On The Sun
9. Island Limos
10. Spanish Key
11. Air
12. Ready Steady Go
13. Car Crash
14. Vincent Hops Train
15. Finale
16. Requiem

Customer Reviews:

Dvd film "collateral".......2007-05-10

This is an outstanding, beautifully made film. Collateral is one of the best film thrillers I have ever seen. It features Tom Cruise playing a role entirely against type; no charm,the only smiles he makes are of the sardonic or skeptical variety. Jamie Foxx, Jada Pinkett Smith, Javier Bardem,Mark Ruffalo all play outstanding supporting roles.

Michael Mann direced with brilliant attention to detail.

This is a violent film. Mann carefully avoids needless gore of the blood-spattering variety. The character portrayal of Cruise in this role is fascinating and original. There is nothing trite in this film.

This is the first film starring Tom Cruise which brought to me his skill as an actor.

A great array of songs .......2007-03-01

The Collateral movie by Michael Mann is one of my favorites, but that does not matter. What matters is that Mann was behind it, and behind every one of his projects there is also great music. Whether it was Miami Vice back in the day or the mid nineties crime drama "Heat", Mann gets it done, and done well. This soundtrack has great groovy sounds as well as urban beats. It has songs that are instrumental and then it has rock singles from bands like Audioslave. Did I forget to mention that this soundtrack also has the cool jazz sound of Miles Davis? Spanish Key is this song and it has the trumpet being showcased as the instrument of choice in one of the films most harrowing scenes. "Ready Steady Go" by Oakenfold is a top notch song on this soundtrack. Requiem by Antonio Pinto is very dark and trancelike, a great song. The Audioslave song "Shadow on the Sun" is a great modern day rock song. So, you have different styles ranging from Rock, Dance/Techno, Jazz and others that make the soundtrack have a nice mix of music.

Collateral.......2007-02-12

I originally bought the soundtrack because of one song I had heard in the movie. However, when I received the CD I was surprised to find I liked nearly every song on the CD. Good choice.

Some great music on here..........2007-01-04

A nice selection and arrangement. 5 stars for this soundtrack.

Lonely Wolves - One night stand.......2006-06-30

Since the very start, Mann takes his time to develop depth in this movie's characters. Spending valuable plenty "Hollywood minutes" from the onset, to allow Jada - THE hyper sexy professional prototype and Max -the hero cabdriver of this flick-, to show their chemistry surfacing through sharp, suggestive dialogues, gives you the feeling you're not for the conventional thriller plotline/ride.

And this movie is a about that. The adrenaline rush, the violence, the cool steely demeanor, hired killer - philosophy, are props -aside from highly entertaining. The peek into the murderer's killings & mind, the steely aesthetics, the beautiful "smelly" portrait of a rough L.A., are just supportive of the central human theme.
This movie is about a very common & contemporary human struggle. Some may say it is the most important issue. Max is a blue collar worker with a dream. That dream keeps his child spirit alive, and that of most of us striving in the middle. There is a twist in his perspective: He's not selling his blood for a company. He's sacrificing his current life to fulfill a dream, of owning a limo service with a unique vision. He also dreams of island far away, that he keeps a picture of on the cab of.

But conflicting with that is a man with basic needs and fears thereof. He has bills to pay and people depending on him (his mother). In twelve years driving a cab he has not been capable of "taking the dive", risking his security to pursue his dream.
That dysfunctional fear that naturally lingers in all of us, extends to other areas of his personal life. He is incapable of risking emotionally, either.
Doing things in which he cannot control the outcome, and pain is at stake.
And he knows it. Especially evident in the intro segment with Jada, when he's pain and shame are reflected in his face, when he's unable to ask the lady for a second contact, after he knew clearly they hit it off. He sees her walking away from him, and aches.
He's inertia is leading him to suffering, anyway.
Fox, conveys all that with a few expressions. He's is a masterful performance, all the way.

Cruise (Vincent) is the devil and also bizarre angel, in his shoulder. When Vincent's identity is settled for Max, is clear his life is the antithesis of Vincent's. Vincent lives a life of danger and risks. No chance to hesitate or blunder. His payoff is much about for
Those risks he takes.
Here Cruise doesn't stick to your head, a much underplayed solid work, where you don't feel as watching someone act.

During the "ride" with the devil, Vincent taunts Max's with his evident self- deceit. Vincent confronts him with a painful outlook. The future we all dread. A future in which we find ourselves old one day burying the young illusions, with no chance of changing our lives, and dying with remorse for the dead dreams.
That becomes the salt in the wound he needs to awake from his stupor.

Vincent and Max, as in other good guy - bad guy centered screenplays, are similar guys.
Vincent's cool, roll with the punches- improvise on the spot-high level mercenary behavior seem appropriate with his taste of music. One with the appropriate tone: Jazz.
A beautiful, masterfully written and directed piece at a Jazz club, lets us know a side of a cultured Vincent, who knows about Jazz history and understands the craft. He praises the improvisation quality. You can sense his love for it.

By the same token, and complemented with Vincent's depiction of his sad childhood, you can suppose that a man with such sensitivity could have a different life. Just as Max.
And deep inside, he knows it. He despises what he does. Although full of satisfying (for him) rationalizations for his actions, that he blurts to -of all people- the cab driver, that entertains us fully during the film. Ethically shallow, but sufficient to appease superficially a man whose life is also shallow.
Both characters seem oppressed by their circumstances, fears and past. But at the end are paying the price for not exercising their possibility to choose a different path.
Both are escaping reality in very different ways.

Beyond his urgency for someone to take blame of the crimes and his need to focus on the jobs to perform, there are other reasons to stick with Max. Besides, not showing his face, he shows reasons beyond that for keeping Max, especially when Max starts to show as a liability for the "project". Furthermore, Max's life been a pseudo-living, breathing justification for Vincent's exhilarating line of work, there is a connection that Vincent wants to keep. One of those, the fact that those hourly connections are the only relations he has with other people.

The movie is the awakening of a man. That change hints the promise of a new life. In this ride, not taking risks is not an option. Not, if wants to protect the same security he cherishes. It's a change or die- deal. That awakening is also catalyzed by pride. He won't sink lower. He won't betray another value, especially not his romantic values. On top of that he had a night's example of another male, who does whatever is needed to get what he wants.
And finally he acts in 360 degree angle from his regular life.

The ending, which is the only "traditional Hollywood" segment that indulges the audience with a happy closure, has been criticized a lot.

I believe that although it insinuates Max's life is going to dramatically improve, you're not left with the certainty.
And it surely reminds us, the flavor of irony we extract from our own life's events. Arranged like a puzzle only by the protagonist of each life and the wise chaos. With logic that resembles that in Jazz. And Mann, as a great composer, leaves you with a feeling that this ending had the beautiful consistency of that logic.

Average customer rating:

The score suits the theme of the movie
Revell has done better

Collateral Damage
Graeme Revell
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B00005Y1ZL
Release Date: 2002-02-05

Tracks:

Century City Bombing
Remembering
The CIA
Journey To Columbia
The Roadblock
Journey Up-River
The Lone Wolf
Selena's Story
Village Massacre
On The Trail
Going Down
Subterranean Chase
End Game
"It's Over"

Customer Reviews:

The score suits the theme of the movie.......2002-07-21

The score has some moment which led you to the road of excitment, enjoyment and imagination. This is an above average soundtrack. When you listen to the soundtrack, you will remember the scenario of the film.

Revell has done better.......2002-03-04

This isn't bad to listen to, but Graeme Revell has done better. His best work has to be The Crow and The Crow: City of Angels. Another thing that works against this cd is the length. We can't blame Revell for this, but this is typical of Sarabande records. If they are going to compete in this market they need to give more.

Music:

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