Directed by:
Michael MannScreenplay:
Morgan Davis FoehlCinematography:
Stuart DryburghCast:
Chris Hemsworth, Leehom Wang, Wei Tang, Viola Davis, Holt McCallany, Andy Tien, Ritchie Coster, Christian Borle, John Ortiz, Yorick van Wageningen (more)VOD (4)
Plots(1)
Set within the world of global cybercrime, Legendary's Blackhat follows a furloughed convict and his American and Chinese partners as they hunt a high-level cybercrime network from Chicago to Los Angeles to Hong Kong to Jakarta. (Universal Pictures UK)
Videos (43)
Reviews (9)
The weakest screenplay that Mann ever filmed. It’s not downright bad, just not thought out well enough and in places pretty hollow. Old man Mike doesn’t know his way around the environment where he finds himself and so he can’t make it any better. So Blackhat works excellently as a story about an ex-con trying to acclimatize himself in the world (represented in glorious locations), but he is a bit dumb during the actual search for the hacker. On the other hand, isolated moments are filmed absolutely brilliantly, i.e. the textbook bank hack - revealing a rift in quality, which is unfortunate because with a crew of this caliber he could have worked wonders. Blackhat is maybe the best movie about hackers, but it reduces its watchability when it describes what the hacking involves. Other aspects work absolutely without any problem, sweet shootouts, chilling, fatal decisions. That’s why I like Mann’s movies, and they’re still going strong. In one scene he shocks you just like old times. The acting team is super, Hemsworth comes across like somebody who understands his trade and finds no problem in getting over the fact that he looks like a model/lumberjack and the romantic storyline with Wei Tang often surfaces throughout the movie. Probably a similar “fail" as Miami Vice, apart from the fact that due to the screenplay Blackhat can’t shine with the same absolute realism.
()
Mann has still got it six years later. To see how skillfully he wields the narrative language, taking shortcuts at important moments while taking the time to develop the personal levels of the characters, is simply a joy. It's too bad that the script is one of those where the filmmaker was either pushed to the wall or squandered his potential himself. The surprising civility and moderation, where hacking isn't done by hanging ten monitors around the protagonist (wave to Swordfish), is brought down by the totally watered-down second half where interest in anything (and yet the build-up to the hard-hitting finale is there) wanes. This isn’t even fixed by the uncompromising twist (Mann has always been able to be quite inhumane to his supporting characters), and despite the fact that even though we've seen this sort of "walking" finale from Mann before, he still manages to film it in such a way that it has the right kind of gradation. [Hemsworth is likable and he puts the effort in, but this typecasting is the major casting failure of the year and I didn't buy it for even a second.]
()
It's neither a high-end love story, nor the 1930s with digital camera, but it still has a lot of trademarks that you either love or don't know about Michael Mann. There are directors who will never succeed at this, there are those who can precisely grasp the moment when the world needs it and rewrite trends (The Matrix), and there are even those who are called pioneers and lay the foundations of what we will appreciate in cinemas years later, the ones who surpassed in what and how they express their times and generation in film. Michael Mann is such a director. He was in the 1990s, the 2000s, and the 2010s. He is always one step ahead and his films are rated higher with the passage of time.
()
Michael Mann’s realistic and damn serious form again works great and one scene (unfortunately not the final one) is also stunning in its impact on the development of the story. Hemsworth’s uncompromising character of a hacker convict gives the film some balls and serves as a good driving force. The problem, however, lies in the script, which is simply not clever and sufficiently thought through to match Mann’s unique form (and it would be more fitting for a film with Wesley Snipes from a second-tier director). Mann’s films don't need a complicated plot. They are strong in the psychological portrayal of the main characters and fatally entangling them in banal but brutal crime plots. Blackhat works with a non-banal crime plot in an unfortunately oversimplified way, and the same goes for the psychological depiction of the characters.
()
Mann is still searching himself after Collateral. Hacker may be a visual and atmospheric treat that is a joy to watch, but you could almost weep at the memory of the infallible Michael from the nineties, when he was able to deliver even simple stories in a complex, emotionally and psychologically almost more mature way than Scorsese. Hacker works with a convoluted crime-romance-mystery premise featuring a bulldog character (Hemsworth), a tender and devoted lover, and a bunch of cold-blooded criminals with schemes involving tens of millions, but the way it presents the contents is so simplistic and superficial in every respect that, if you leave your brain completely off, it doesn't affect the final impression one iota, which can be truly chilling, given Mann's polished directorial style and Williams' traditionally excellent soundtrack. 65%
()
Ads