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"Since when is any of this negotiable?"

Okay, look, here's the deal. Man, you were gonna drive me around tonight, never be the wiser, but El Gordo got in front of a window, did his high dive, we're into Plan B. Still breathing? Now we gotta make the best of it, improvise, adapt to the environment, Darwin, shit happens, I Ching, whatever man, we gotta roll with it.
Vincent
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Max Durocher (Jamie Foxx) is a cabbie living in L.A. with big dreams of opening his own limo company and catering to rich, important clients at some point. But without the motivation to take the risk and leave his job, he's just drifting through life. He can't even find the courage to call the attractive attorney, a fare, who flirted with him and gave him her card. He's stagnant. Until he picks up one fare that will change his life.

Enter Vincent (Tom Cruise), who commandeers Max's taxi. He is the chaotic counterpart to Max's carefully structured world. A jazz aficionado, he preaches Darwinism and improvisation. He's jaded by the city, hates the overpopulation and the filth. Oh yeah, and he also happens to be a hitman for a private military company. And for one night, the cabbie and the assassin find themselves inescapably bound together.

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This Michael Mann movie features Tom Cruise in his most chillingly evil villain role since Lestat de Lioncourt.


This movie provides examples of:

  • Alas, Poor Villain: For all of his evilness, Vincent himself in the end.
  • All There in the Manual: If you listen to the DVD commentary and the bonus features, you'll find out more about Vincent's background, including where he grew up and the significance of jazz to his character.
  • Asshole Victim: "You attract attention, you're going to get people killed who didn't need to be." But man, is it hard to feel sorry for those guys...
    • More specifically, when Vincent ties Max to the steering wheel to make sure he doesn't drive away while Vincent takes care of business, Max honks the horn that draws some people to his predictament. Unfortunately they turn out to be muggers who at first don't even *notice* Max is tied to the steering wheel and demand his wallet while holding him at gunpoint and despite no reason still continue to make threats at him as they take his money and Vincent's briefcase. Then Vincent shows up...
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  • Ballroom Blitz: Dragged out rather ridiculously when Max starts shooting in a nightclub to cause a diversion. It works, everyone starts running for the exits... and five minutes later, they're still running. Best hope there's never a fire in that place...
  • Bittersweet Ending: Max and Annie survive the night and Vincent is defeated. However Max's cab is totalled and many people (including Fanning who saved Max) were killed throughout the film and Vincent himself dies a rather tragic death. Then there is the fact that Max is an accessory to the murders even if he wasn't complicit, as well as attacking a cop, stealing a cellphone and reckless driving. Good job he saved the life of an attorney because she's going to be busy.
  • Bloodless Carnage: The briefcase shootout scene.
  • Bluffing the Authorities: One of Vincent's victims falls out of a window onto Max's taxi, causing significant damage. The pair are later pulled over by two officers suspicious of the damage, and Vincent threatens to kill the policemen if Max is unable to talk his way out of the situation. He claims that the damage came from hitting a deer and though the policemen appear skeptical, they receive another call and let him off with a warning.
  • Bookends: At the beginning of the film, after Vincent gets into Max's cab, he remarks that he hates LA, and then relates a story about how a normal guy got on the MTA, had a heart attack and died, and then rode the train the rest of the day with no one noticing. At the end, Vincent, mortally wounded, sits down on the MTA and asks Max if anyone will notice his death before dying.
  • Boom, Headshot!: Combined with Double Tap for Vincent's Signature Move: The Mozambique (or "Failure to Stop") Drill.
  • Bottomless Magazines: Strongly averted: Vincent reloads frequently, and even Max has to count his bullets.
  • Cameo: Jason Statham pops up to deliver the workups on Vincent's targets.
  • Can't Kill You, Still Need You: After the hospital scene, Max takes the assassin Vincent's briefcase with the target names and throws it off of a bridge in hopes of stopping him for killing anyone else. Instead of killing him, Vincent thinks of another way to use him to get a backup copy of the target names.
  • Car Cushion: This is how Max is introduced to the fact that Vincent is a hitman. One of the targets has the bad grace to fall out of the window and onto the hood of his taxi.
  • The Cartel: Felix, Vincent's employer.
  • Confiscated Phone: Max grabs a pedestrian's phone to call Annie and warn her about Vincent.
  • Contrived Coincidence: In city of millions, Max just happens to give a taxi ride to a hitman and one of his intended victims on the same night.
    • Justified Trope: Vincent was casing the place where he was going to do his last hit of the night, so he would know the layout and exits and be able to look like he belonged there when it got later. He also very nearly doesn't get into Max's cab at all, as Max was zoning out at the time and called him back.
  • Cue the Sun: Plays out over the course of one night - though the sky lightens noticeably at the end.
  • Cut Apart: Vincent is looking for Annie, while she gets a phone call warning her about him. We see him bursting into her office, only to cut and see that she's several floors above.
  • Cut Phone Lines: Vincent cuts the power and phone line of the building, leaving Annie in the dark and without a way to reach out for help.
  • Darkened Building Shootout: At the office building after Vincent cut the power line.
  • Deadpan Snarker:
    • Vincent.
    "No, I shot him. Bullets and the fall killed him."
    What? I should only kill people after I get to know them?
    You no longer have the cleanest cab in La-La Land. You gotta live with that. Focus on the job. Drive.
    • Detective Fanning:
    Sure. He's depressed so he jumps four stories out of a window onto his head. "Wow, that feels better." Picks himself up. "Now I think I'll go on with the rest of my day."
  • Death by Irony: Vincent, for all his talk of adapting, I Ching, Darwin - acting as Chaos personified - exclusively uses the Mozambique Drill technique to eliminate his targets, allowing Max to get the better of him in a blind shoot-out as his specific shooting routine only hits the carriage door where as Max's inexpierenced random shots manage to get past the obstruction and hit Vincent.
  • Deconstructed Trope: The film deconstructs the "loner hitman as cool existential hero" trope, pointing out how sociopathic and hollow such a character would seem when seen from any point of view but his own.
  • The Dog Bites Back: After spending the entire film mocking and tormenting Max, Vincent finds out that there is a lot more to the humble cab driver than he anticipated.
  • The Dulcinea Effect: Max's ordeal was just about over, and then he saw that Vincent's last target was Annie. He immediately goes to her rescue.
  • Dying Truce: During the climactic gunfight on the train, Max gets off a lucky shot that hits Vincent in the chest. Vincent staggers and takes a seat, and a shocked Max sits across from him, trying to reassure Vincent that the train is almost at the next stop. Vincent smiles and repeats an anecdote he shared earlier in the movie.
    Vincent: Hey, Max. Guy gets on the MTA here in LA, dies. Think anybody will notice?
  • Evil Cannot Comprehend Good: See Rule of Symbolism.
  • Expecting Someone Taller: When meeting Max, posing as Vincent, Felix greets him with the words "I thought you'd be taller". This is even more hilarious if you remember that Tom Cruise's Vincent would be 5'7 to Foxx's 5'9.
  • Extremely Short Timespan: The film takes place over one night.
  • Face Death with Dignity: Vincent at the end of the film. After he and Max unload their entire magazines at each other in a blind shoot-out, Vincent attempts to reload, and drops the magazine instead. The camera pulls back to reveal why: He's been fatally shot in the gut and he's starting to bleed out. With the last of his strength, he calmly puts away his gun, adjusts his suit, and sits down on a train seat. He waits for Max to come sit across from him before delivering his Last Words, then relaxes silently into death.
    Vincent: Hey, Max. A guy gets on the MTA here in LA. Dies. Think anybody will notice?
    • The magazine that drops is the empty one. He's out of spare magazines which is why he holds up his empty hand. He's also using a Smith and Wesson 5906 from the security guard while Max has his H&K USP 45. Unless he grabbed spare magazines from the guard, he'd have been out of ammo anyway.
  • Film Noir: Down to Max being a decent guy pulled into crime (and for a while being quite good as Vincent's sidekick), who then struggles to get out once he gets the big picture. Also, the idea of L.A. At Night being an effective character, itself. And a healthy dose of existentialism to boot.
  • Foreshadowing:
    • Max, impersonating Vincent, threatens to take the gun away from Felix's henchman behind him and beat him with it. He does something very similar with a cop later.
    • The reason Vincent was at Annie's building at the film's outset is that he was researching his final target (Annie, the prosecuting attorney).
    • Early on, Vincent complains about how much he hates LA, and how impersonal and disconnected everyone is, to the point that he heard a story about a man who died on the MTA, and whose corpse went unnoticed for six hours before anyone realized he was dead. At the end of the film, he dies, alone on a train car, sitting upright and well-dressed, in the wee hours of the morning... where no one is likely to find him for hours.
    • Max says he sometimes gets lucky with the (traffic) lights. In the finale, the lights on the train go out just before he engages Vincent, which lets Max win by sheer luck.
  • Freudian Excuse: Vincent was beaten by his alcoholic father, which helped turned him into the "badass sociopath" we know and love.
  • From Camouflage to Criminal: Before becoming a hitman, Vincent was a U.S. Army special operator.
  • Glasses Pull: Max does this in front of Felix, at the moment he decided to turn the tables.
  • Happy Place: Max keeps a photo of the Maldives Island in his cab. He says he dreams himself away to this place when things get heavy.
  • Hoist by His Own Petard: At the end of the film, Max ends up killing Vincent with the latter's own USP45. In addition, Vincent's attempt to use his signature Mozambique Drill backfires, causing the bullets to hit the steel barrier and thus preventing him from killing Max first.
  • Hollywood Silencer: Vincent takes out the jazz club owner with a silenced gun that produces almost no noise in the large hall.
  • Hope Spot: About two-thirds of the way through the film, Detective Fanning pulls Max away from a nightclub fire-fight to safety. He believes his story, looks like he's going to help solve all of Max's woes...then is gunned down by Vincent without a pause.
    • Earlier on, Max attempted to steal Vincent's briefcase and destroy it along with the contents inside like the names of his targets by throwing it to a highway where numerous vehicles run it over. He hopes that by doing this, Vincent would leave him alone and stop killing people. Unfortunately for him, it made Vincent mad enough to pin him down on a floor and considers using him to get a backup copy of his targets' names.
  • If Only You Knew: Max's mother tells Vincent that you'd have to hold a gun to Max's head to make him do anything. That's what Vincent actually did to get him there, and he gives Max an amused look when she says it.
  • I'm Standing Right Here: This happens to Max at the hospital, courtesy of his mother.
  • Instant Death Bullet: Some of the Mooks in the club shootout scene are shown going down to a quick single shot while everyone else is usually shot several times.
  • Ironic Echo:
    • Vincent's reliance on the efficient Mozambique Drill killing tactic allows Max to best him in a blind gunfight through a subway door with two windows and a solid metal center.
    • Vincent asks Max how long he's been doing the job, and if he gets any benefits. Max asks him the exact same thing, in reverse order, when he's about to impersonate Vincent.
    • See Last Words below and Foreshadowing above.
  • It Began with a Twist of Fate: Max gets pulled into the plot simply by picking up the wrong passenger.
  • Karma Houdini: Felix.
  • Kill and Replace: Discussed. Max is providing cover for Vincent. At first the feds think Max is Vincent, and the hitman has simply picked a cab driver who looks like him, killing the original.
  • Last Words: Vincent's final words serve as a Meaningful Echo/Ironic Echo to an anecdote he relates earlier in the film.
    "Hey, Max, a guy gets on the MTA here in LA and dies. Think anybody will notice?"
  • Mêlée à Quatre: In the nightclub during the fourth hit: Max and Vincent (with Max standing in for Vincent while Vincent follows him) vs some mafiosos (who were sent after 'Vincent' just in case the hit goes wrong) vs the LAPD (who try to both protect the victim and locate Vincent and his supposed partner-in-crime) vs the victim's bodyguards (who start firing at everyone with a gun). It helps that the room is completely cramped with panicking party-goers and the lights go on and off.
  • Mugging the Monster: In one scene a couple of thugs steal a briefcase from a ziptied-up Max. Vincent confronts the two, one of whom brandishes a pistol right at him. A few double-taps to the chest and one in the head later, Vincent has his briefcase back.
  • Multiple Gunshot Death: We can see the beginnings of Vincent's Villainous Breakdown in the fact that he empties the whole magazine of his gun (even having to reload to deliver his signature headshot Coup de Grâce) on Lin, whereas he had been pretty efficiently using the Mozambique Drill beforehand. Also how he kills Detective Fanning, to utterly puncture the Hope Spot.
  • My Beloved Smother: Max's mother, Ida.
  • Never Going Back to Prison: Daniel sold out The Cartel to the police because of this. In his words: "They said I could help them or go back inside. And I'm not going back inside."
  • Obligatory Earpiece Touch: At the night club, Vincent is able to spot one of the Asian security guards in the crowded room thanks to that guy having his hand on his ear.
  • Only a Flesh Wound: At the office building, Max shoots Vincent in the neck but the latter moves on like nothing happened.
  • Order Versus Chaos: Vincent representing reaction and chaos taken to an extreme, while Max represents an almost obsessive level of order and control. In the end, a balance must be struck.
  • Phone Booth: The superhero change-over variant is discussed by Fanning with regards to Max's unlikely change of character:
    "You're telling me the guy walks into a phone booth and changes into a meat-eater super assassin?"
  • Police are Useless: All cops in the film except for Detective Fanning.
  • Private Military Contractors: It's hinted at in the movie and stated outright in the commentary that Vincent works for such a group.
  • Quick Draw: Vincent can draw a pistol from a holster high up on his hip, almost in the small of his back (which is not really conducive to a fast draw) and get off five very accurate shots in less than two seconds, killing two men. One of whom was already pointing a gun at his face. It helped that they had no idea how dangerous he was and closed within arm's reach of him, allowing Vincent to knock the gun away with one hand while simultaneously drawing his gun with the other. By the time the two jerks realized they'd messed with the wrong man, they were already dead.
  • The Reason You Suck: Max levels up and delivers a blistering one to Vincent right before crashing the car. Max tells him that he couldn't connect with anyone if his life depended on it and that he's like someone who grew up institutionalized without experiencing any normal human interactions at all. Watch Vincent's face during this. It's plain that what Max is saying is hitting him hard and he's barely keeping himself together.
    • Vincent then turns around and smacks Max with an equally brutal one (see above), tearing into him for not having the courage to take any risks and make something of himself, or even call a girl he likes, even comparing Max's voluntary stagnation to "murder". Somewhat bites him in the ass, since it seems to get to Max so much that he shifts gears into "Badass" and deliberately wrecks the cab to halt Vincent's killing spree.
  • Rule of Symbolism: The infamous coyote scene, possibly hinting at the fundamental differences between Vincent and Max. Max stops the car for a simple stray animal, one that couldn't even really be someone's pet, but nonetheless goes out of his way to avoid killing it, even though hitting it would have no legal or physical consequences. Vincent seems more confused then anything else that Max has stopped, and there's a moment of silence between them afterwards, as Vincent seems to finally pick up on what Max just said to him: he really is incapable of comprehending an individual's reasons for doing something. His almost awed gaze at Max's head shows that he simply cannot fathom the reason behind Max's actions.
  • Satchel Switcheroo: Deliberately done in the opening scene where Jason Statham's character swaps identical suitcases with Vincent.
  • Screw This, I'm Outta Here!: It's a blink and you'll miss it moment, but two of the would-be briefcase thieves decide to scram when they approach Max, presumably realizing something was off when his hands were tied to the steering wheel.
  • Shut Up, Hannibal!: Max does this to Vincent just before he crashes his cab.
  • Signature Move: Vincent always engages with a rapid Double Tap, sometimes followed by a headshot if his target is still alive.
  • Spiritual Successor: For Heat as far as mood and setting go. Both are LA centered crime stories and end with the death of one of the two stars at the hands of the other.
  • The Taxi
  • Too Dumb to Live: Played with when it comes to the two muggers. After all, they're both armed and don't know what Vincent is capable of, like the audience does. Then again, demanding money from a man ''clearly tied to the steerin
    • Not to mention that rather than maintain his distance - which is, y'know, the point of using a firearm - Mugger #1 gets right up in Vincent's face and make it easy for him to slap the gun away and neutralize him. Mugger #2 has his gun jammed so far down the front of his pants that he's still fumbling for it when Vincent switches to him.
  • Title Drop: Max mentions that he's collateral [damage] to Vincent.
  • Villainous Breakdown: Vincent progresses through one of these over the course of the film. It has it's beginning from the moment he meets Max and they start conversing. Vincent is an amoral, completely self-centered assassin who cares for no one. However, he's also incredibly isolated and walled-off from the rest of humanity, with the resultant loneliness that he'd never admit to, not even to himself. Despite how ruthless he is, it's heartbreaking to realize that Max may be the first person he's had a meaningful, introspective, and honest conversation with in his entire life. In several scenes, you can't help but feel that he's honestly trying to help Max change his life, and is very conflicted over the part of his plan that means killing Max. And after the final shootout with Max, rather than go down swinging, Vincent just gives up rather than die alone.
  • White Shirt of Death: Vincent himself at the end.
  • Wrongful Accusation Insurance: Max is forced to impersonate Vincent and ends up committing a few crimes over the course of the end of the movie trying to save the last victim. Good thing the last victim on the list was a prosecutor, because when this is over he's going to need all the legal help he can get.
  • Xanatos Speed Chess: Discussed. At the jazz club, Vincent compares Jazz to him improvising over the course of the night.
  • You Have Got to Be Kidding Me!: Max, when he discovered the people whom he tried to draw attention to his predicament of being tied up on the second trip are actually muggers.
  • You Must Be Cold: Max lends his jacket to Annie when they exit the subway at the end.

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