“Collateral,” Michael Mann’s new film staring Tom Cruise and Jamie Foxx, is a methodical time bomb, visually mind-blowing and thrilling down to the last few ticks. Even the acting is crafted together so perfectly that it forms a cohesive bond that is ready to crack at any minute, and is the ultimate cap to this summer’s film repertoire. That powerful clicking of the personalities of Cruise and Foxx is what drives this powerful piece, and taking into effect the fact that Cruise is the “villain” of the film, it makes it all the more interesting to watch.

Wait a minute. Tom Cruise…as the “bad” guy? Well, yes and no, but either way it is a different approach for the actor.

“Collateral” tells the story of Max Durocher (Foxx), a clean, systematic cab driver in Los Angeles that just happens to pick up the wrong fare. From the moment Vincent (Cruise) slides into his back seat, Max has an uneasy feeling. Vincent is a hired killer, and uses Max to drive him to each of his five targets. At first, Max is unaware of his role, but when the first killing goes awry, he quickly learns that the night will be a roller coaster ride that he can’t get off of.

“Collateral” succeeds because of its two leads, Cruise and Foxx. Their interaction and dialogue keep the story moving and add a delightful heartbeat to the film. At times emotional, and at other times genuinely funny, their banter is crisp and addictive. As the two men start to learn more about each other, their dialogue grows, becoming richer and deeper, and mirrors their explosive bi-polar relationship.

Vincent isn’t the quintessential bad-guy, either. The character revives the classic model of killer-for-hire, where the mob cliché “it’s not personal, it’s just business” is resurrected. Vincent isn’t a villain; he was hired to do a job, a job that he’s particularly good at, and he does what he’s paid to do. The fact that it has to do with killing people is irrelevant. Cruise plays Vincent with such a cool bravado that you want to dislike him, but can’t bring yourself to. Instead, you almost pity him, but not really. He’s the perfect borderline baddie: someone you don’t want to know in real life, but sometimes wish you did.

As for Max, he is your every day kind of guy, trying to make an honest dollar and save some money. Unfortunately, he just can’t seem to get ahead, and he doesn’t have enough drive to do what needs to be done to take him to the next level. From his interactions with Vincent, Max is pushed over that edge unwillingly, and in doing so, becomes more of a man before our eyes. From someone that you’re used to popping wisecracks, Foxx portrays Max so subtly that you don’t realize the transformation until it’s already occurred, and therein lies the beauty of his acting.

As the night clips along, Mann continues his beautiful, jazzy work of art. The film occurs entirely at night, and the nocturnal landscape that Mann captures is grainy and dark, yet vibrant with life and emotion. The cab ride scenes are jumpy and off-kilter, and the action sequences quick and to the point. There are no needless gun battles, instead there are believable situations and atmospheres that bring a stark reality to the film.

For such an anxious ride through the night, the ending is a little contrived and unsatisfying, but on the whole the film is exciting and gritty. Visually stunning, with humming dialogue and downplayed action, “Collateral” is a surprisingly enjoyable collaboration of acting and direction that spotlights its participants in a new light.