There are three great makers of popular man-art working in Hollywood today – Michael Mann, Christopher Nolan and David Fincher – and all three work with broadly the same materials: male identity, its associated violence, and post-industrial societies with no place for either. Mann’s neon-noir aesthetic focuses on status, whether James Caan’s safecracker in Thief, with his $150 slacks, silk shirts, and $800 suits, or Jamie Foxx in Collateral, who dreams of running his own limo firm, but only idly, having long since sunk into his reassuring routine as night-time cab driver.