While an endless stream of Tom Cruise movies seems to arrive every month, few have the pulsating electricity at the heart of Michael Mann's new thriller, Collateral. With perfect casting, crisp writing and superb cinematography, Collateral is sure to be hit.Max (Jamie Foxx, Ali) is a veteran cab driver, always hoping for something better, and he knows the nighttime streets of Los Angeles like the back of his hand. After dropping off and impressing an attractive lawyer named Annie (Jada Pinkett Smith, The Matrix: Reloaded), Max picks up a gray-haired businessman named Vincent (Tom Cruise, The Last Samurai).

Vincent retains Max for the night for a series of quick "business meetings" around town, but Max, in shocking fashion, quickly learns the true nature of the meetings. Vincent is a contract killer, with five "meetings" on his trip. Every stop is a moral dilemma for Max, who is held captive, and he is forced to weigh his own life against those of complete strangers. The glue of the movie, the long conversations between Max and Vincent in the cab, carries the movie along with a fine balance of action and philosophy.

While much of the movie consists of Max's freshly-damaged cab roaming the dark streets of L.A., director Mann orchestrates the suspense masterfully, without the crutch of constant action. While the gunfights may be few and far between, Mann manages to engage the audience with dialogue where Max's internal struggle combined with Vincent's ruthless efficiency takes center stage.

Mann uses the streets of L.A. as one giant extra in the film. Dark, often empty, the nighttime atmosphere is constantly lurking, and is used very effectively. The night is oppressive, and only after the climax does the first hint of light begin to shine. The mean streets are a vital character unto themselves.

The writing is also very sharp. When Vincent says to a couple of street thugs "Yo, homies," in a mocking way, it is easy to imagine that that is exactly what he would say. While the characters are more or less believable, no one will confuse Collateral with reality. There are improbable events that occur, such as a vicious car wreck where both people walk away relatively unscathed, that remind us that we are, after all, watching a movie.

Collateral is really a statement about fate, and how coincidences can turn a life upside-down. There seem to be no superfluous characters, and everything wraps itself up nicely. Of course, coincidences of this nature rarely happen in the real world, but they do make for fine cinema.

What should not go unnoticed is the fine performance from Cruise. Criticized for always playing a slightly different version of himself, Cruise looks very un-Cruise like. With gray hair and a scraggly beard to match, Cruise is very convincing as Vincent. His mind always seems to be on his goal, and yet something in his face seems to be sympathetic to Max's inner battle. Of course, Vincent would just as soon shoot Max in the head as bat an eye, but to keep Max involved he would have him believe anything.

Starring in a movie by an acclaimed director next to a megastar should be enough to propel Foxx's career into high gear. Set to play the leading role in the Ray Charles' biopic Ray, it seems like directors are starting to take notice of his rising star power. He delivers as the conflicted and sometimes pathetic Max. He seems to be such a lovable loser, a man with no real future and hardly a present, yet his earnest face holds nothing back. Look for Foxx, after his portrayal of the sad, oft-conflicted Max, to start making big waves in Hollywood.

Despite its billing as a summer blockbuster, this finely honed film thankfully lacks the stereotypical markings. This is no Independence Day, with huge explosions, ridiculous one-liners and huge budgets. This is a toned-down blockbuster, with understated performances and tension that creeps, waiting to boil just beneath the surface. However, this is still a movie worth seeing in the theaters, where the rare bangs provide more of a jolt.

Collateral is a fine film, by a director who seems to exclusively create quality movies. It's hard to imagine a casual moviegoer not enjoying this movie, either for the well-choreographed action sequences or the splendid directing. While Mann's Oscar considerations may fall victim to the timing and genre of his movie, it won't be long before this up and coming director gets his due.