Collateral

When Max sees the security guard at the office building he runs around to another door.

The cameraman is visible in the glare of the building running next to Max.

When the taxi cab crashes, Vincent (or a dummy that looks like Vincent) is clearly visible upside-down in his seat.

But it the next shot, he's laying on his back.

When Max crashes the cab, he passes the water barrels.

In the next shot, he crashes into them.

The rubber bands that hold Max's picture postcard to the visor are sometimes smooth and other times twisted, even though he hasn't removed the postcard.

When the two LAPD officers pull Max over, the black officer is sporting a goatee.

Per LAPD regulations, no uniformed officers may have a goatee.

The smashed windshield is inconsistently broken throughout the film.

The "Metro" sign isn't on the wall when Max and Annie run to it, but it appears when Vincent chases after the two.

When Annie and Max are running from Vincent, they come to the subway platform.

The train they board is marked for the "M" platform, although the platform they're on is marked "L".

After Max and Vincent leave the Fever Nightclub, Max crashes his taxi into two parked cars.

In the first shot of the front of the car after the crash the taxi appears to have no damage at all, the following shot the left front light is broken and there's damage to the side of the taxi.

In the next shot, the damage is gone again.

When the taxi crashes, hidden equipment is visible next to the parked cars, but is removed after the crash.

After Vincent was shot for the first time by Max, his jacket was torn at the shoulder.

In the next scene there is no tear.

In some shoots during the subway/train scenes Vincent is not wearing a belt.

When Max and Vincent load the first corpse in the trunk, the "corpse" is holding Max by the wrists as well.

The lawyer Vincent shoots is supposed to live on Fountain Avenue in West Hollywood.

The view from his condo is downtown Los Angeles - about 12 miles from the given address Right before Max crashes the car, they pass by Staples Center in Los Angeles and it is green and red (they change it to green and red during the holiday season).

Then when you see Staples Center throughout the rest of the movie (which occurs on the same night) it is back to the original colors of blue and red.

In the jazz club, Daniel removes the trumpet from his mouth before the final note he was "playing" has finished on the soundtrack.

When Vincent is offering Max the money to hire the cab for the night he puts his hand up on the back seat but in the next shot Vincent's hand is not there.

At the catwalk scene, right after Max tosses out the briefcase, Vincent is holding his gun with his right hand, and passes it to his left hand.

At the next shot, he's holding the gun with his right hand again.

When the characters enter the hospital elevator on the main floor, it has a telescopic door, but at the 3rd and 5th floors the door opens centrally.

When Annie knocks on the passenger-side window to give Max her card, he rolls the window all the way down, but when she hands him the card, it is only half-way down.

In the hospital morgue scene, the eyes of the second corpse (rich guy killed in penthouse apartment/Vincent's second hit) move in a close-up of his head.

Moreover, the 'corpse' is breathing.

After the shootout in the subway, Max has his glasses on.

Then when Max is shown sitting across from Vincent they're off and he puts them on.

Then when they show him get off the subway with Annie, he doesn't have glasses on again.

After the final taxi crash when the cop is trying to put the handcuffs on Max you hear the locking sound effect of the first handcuff going on, but the cop never gets the first handcuff on.

When they enter the elevator in the hospital, and Vincent asks what floor, in one shot he is pressing the buttons with his right hand, but when they show the buttons pressed, it is his left hand (as the thumb is pointing down).

While driving on a near-deserted road (going to Fever) what appears to be the flashing red and blue lights of a police car (presumably escorting the production vehicles) can be seen reflected in the cab's window.

When Annie gets into the cab at the start, she gets in and sits on the left hand side, yet throughout the rest of the cab ride, she is on the right hand side (directions as per facing destination).

When Vincent checks Annie's desk, the telephone receiver changes from being aside of the phone to hanged up in the reverse angle shot.

During the gunfight at the nightclub, Vincent fires at least seventeen shots from his gun before reloading, even though the USP he uses only holds twelve.

(at around 1h 19 mins) Light fixture visible in Club Fever.

When Vincent sees the light for the phone line in the U.

Attorney's Office, the label is for the 16th floor storage room, not "Library" (where Annie is) which is right next to it.

After the body falls on top of the cab, starting when we see Vincent washing off the roof, the "Taxi" and yellow ad signs are repaired with gaffer tape.

We never saw them broken nor saw them repaired.

A shot at the end of the film showing Vincent from a distance sitting dead in the subway, you can see someone's shadow in the next car crouched down and moving between where the two sliding doors meet.

When Vincent kills the two hoodlums that were walking away with his briefcase ("Yo Homie.

"), no bullet holes show on their torso when either of the two are shot, they simply fall down.

During the night club scene where there is a frantic evacuation of the building, one of the Asian bodyguards can be seen standing up with people dancing around him instead of the chaotic 'evacuation' being portrayed.

In the subway scene, Max and Annie run to escape Vincent but are really running toward him (the seats face forward and they run back past them).

Meanwhile, Vincent is running forward and runs through at least three cars (position shown when the train makes a station stop in addition to progress being shown passing through doors while the train is moving).

Max and Annie are one or two cars in front of Vincent yet the shootout takes place in the second car from the rear.

Vincent tells Max that damage to the taxi will be covered by his General Liability Umbrella policy.

An Umbrella policy and a General Liability policy are two separate types of policy and collision coverage to a vehicle would not be covered under either.

During the conversation Vincent and Max have immediately prior to Max crashing the cab, Vincent's beard changes thickness in each closeup shot.

When the detectives are leaving to secure a potential targeted witness, while getting into their vehicles Peter Berg can be seen looking directly into the camera for a few seconds.

The cameraman is visible in the mirror Max and Annie are running towards just before they run down the escalators to the subway tracks at the end of the movie.

The cartridge shell Peter Berg's character holds up in the alley of the first hit is for a rifle not a pistol.

When Max is trying to bust the glass in the door to enter the building Annie is in, there is a cross bar in both doors.

After Max shoots the glass from the door, the cross bar in the left door is gone and he jumps through it.

Collateral is a masterpiece of American cinema. Michael Mann really knows how to direct an overly impressive action film like this.

Hare has a talent for drawing female characters that have depth and a motivation that is for their own agenda, rather than men's.In this crafted drama, the extra scope of film and four episode structure gives it a shape and a quality, driven by sharp, not always realistic dialogue and scene-building, that kept me wanting to know more about a finely woven cast of superb actors.

Very dark, slow, boring. I kept falling asleep.

I don't care what u think about Tom Cruise, love him, or hate him personally, he was just FANTASTIC in this film, as well as Jamie Foxx. I watched this movie when it first came out and thought, this was gonna win a LOT of awards, I can not fathom why that never happened.

Collateral is an interesting movie in that it made technological leaps in contemporary cinema, but that it is nonetheless only a slightly above average narrative. I think Stuart Beattie did an exceptionally poor job with the script.

Why isn't the world nice and simple, like in my newspaper? If only Diana were still alive!

Based on some of the negative reviews, apparently my wife and I liked it better than most. We thought this was a good concept that kept us guessing.

I really liked it! The story of Max, a cab driver, who's passiveness and stagnation come alive as a hitman forcing him into action.

Interesting topic and some class actors (I though Billy Piper was particularly good).But the script really was terrible.