The Big Reveal that Isn't

Collateral takes a big risk, story-wise, in that the last target on Tom Cruise's list is a prosecutor that just happened to ride in Jamie Foxx's cab earlier in the night. That this woman would ask out a cab driver and then be hunted by his fare a few hours later is a huge coincidence... huge. The last target is--gasp!--the very woman Jamie just met and fell for!

But instead of feeling cheap, it feels inevitable. The opening allows us a lot of time with this particular gorgeous prosecutor. It even goes to pains to a) establish that she is indeed a lawyer; b) set up the trial starting the next morning; and c) ensure Jamie will know where she's going to be in the middle of the night. She then leaves the picture. Literally, she leaves the picture for the second act.

But as Tom and Jamie go through their hellish night, we're forced to think of her-- Tom's clearly killing witnesses for a big trial, and he keeps telling Jamie he should "ask the girl out". We're constantly reminded of her, and, frankly, we're starting to worry for her. The film allows us some dread. By the time the "reveal" happens, we're not surprised-- the moment merely confirms our worst fears. Yet it's still a reveal because Jamie didn't know 'til now. In the moment, we feel for Jamie, knowing the impossible situation he's up against.

Imagine the film had tried to actually play the scene as a huge shock. Cheapola. Instead, it's a dark moment for the hero that isn't about information we're receiving... it's about emotion. It keeps you in the film instead of making you mutter "dunh-dunh-dunh!" and then get up in search of Twizzlers.

A reveal isn't always better. Sometimes it's best to hide a reveal in plain sight.