Can 2014’s “World Sexiest Man“ really be a hacker?
After both America and China are taken by surprise by a ruthless, controlling hacker whom decides to rob the banks of all their worth, both sides agree to work together. However, in order to work together peacefully and hopefully find whoever the hacker is and stop him at once, they might have to make a bit of a compromise: Allow for notorious network-hacker Nicholas Hathaway (Chris Hemsworth) to join in. While the U.S. is initially skeptical of doing this, because doing so, would also grant Nicholas furlough, as a result, they realize that the reward is greater than the risk, so they decide to allow Nicholas in on the investigation. And while, at first, it seems to be going according to plan, with them finding out who the hacker is and their location, they soon begin to realize that discovering the identity was the easy part; actually nabbing this person(s) once and for all, is still left to do. Which yes, means there’s going to be a lot of blood-shed and, quite possibly, many of lives lost. Still, it’s Nicholas who wants to stick to his intense hacking-skills to hopefully save the day.
It’s odd that Michael Mann hasn’t made a movie in nearly six years. But what’s even weirder is that, after all of this time, the movie that will ultimately make-up for his hiatus from the big screen, gets placed in the most deadly months of all movie month’s: January! While this doesn’t mean that every movie released in January, you know, without having already had an “awards-consideration” buzz beforehand, is downright rubbish, it just means that most of the time, the movies aren’t always the best of quality. Most of the time, it’s just the kind of movies that the major-studios want to get off their hands once and for all, in hopes that they’ll make some sort of profit in the meantime, although they aren’t really keeping the fingers crossed.
And while, since we’re being honest here Blackhat may not be the total exception to that rule, it’s still an alright crime-thriller that deserves to be seen if you need a little hope and sanity in a month like this. Or also, if you’ve just missed Michael Mann so nearly and dearly that you have to see what he’s been up to that’s had you waiting for the past five years since Public Enemies. Which, for me at least, made the wait seem a whole lot longer.
But I digress.
Since this is a Michael Mann production, it’s obvious to expect most of the trademarks that come along with that neat style of his; of course there’s going to be much use of the hand-held, digital-camera, an strange, retro-ish blend of colors, and a score that recalls the glory days of the Human League and Gary Numan, among many other of those New Wave-ish bands that I’m not too in love with, but are at least suitable for two hours or so. And while that style of his can be a tad too over-done at times, it still added a nice flair and pizzazz to a story that, quite frankly, needed plenty of it. Not just to help keep things alive and energetic for some of the viewers who might be dozing off, but to at least help keep things as simple as humanly possible, as hard of a task as that may have been.
Because, though Mann seems to be getting at somewhere with technology in the modern-age, which is, if you’ve left the cave you’ve been living under for the past few years, will understand that it’s an idea that’s as relevant as you’re going to get. Mann, by bringing up such tragedies like 9/11 and nuclear crisis’, seems like he’s trying to make a point about how technology has impacted our world more than we know it, and it’ll sometimes draw people into deep, dark and sadistic worlds that they don’t already expect themselves to be in. These deep, dark and sadistic worlds that I speak of, are the same kinds that Mann normally loves to explore, but here, it feels like he’s maybe trying a bit too hard to make this more than just a silly, sometimes over-the-top crime-thriller that has Thor banging on the keyboards a lot.
In fact, while I’m on the subject, I might as well begin to speak about Chris Hemsworth and just say, despite his obvious effort in the matter, he isn’t the right fit for this role as a slick, sly and cool technology-hacker. Sure, he gets the slick, sly, and cool aspect down perfectly, as you’d expect him to, but he just seems too hunky enough to really be taken seriously as a guy who apparently knows all sorts of network’s codes and maps by heart. Also, not to mention the fact that since his character is American, he’s forced to use this accent that is so odd, I wonder where Mann would have said he was from, had the character’s place-of-origin really been that important to know about. This isn’t me hating on Hemsworth for being everything that I could ever want in my life (it is true), because I’ve actually come close to loving him in plenty of other movies, it’s just that here, he isn’t right.
That’s less of his fault and more of Mann’s, but so be it.
Anyway, that aside, the movie’s still fun and seems like, when it gets the intensity going, it’s as exciting as you’ll get with a Michael Mann movie – bullets are flying every which way but loose, people are getting shot, blood is being drawn, and most of all, it’s all done so in Mann’s trademark slo-mo. Once again, a lot of this movie gets style-points for whenever Mann just does his thing, but it’s when he decides to go a bit deeper with this story, it’s meaning, and how all the mechanics get worked out in the end, he more than often stumbles. Which isn’t to say a movie that uses hacking so often is automatically going to get points off from me, because I’m too stupid and clearly don’t get anything that have to do with computers or internet-connections (I still use dial-up, people). No, it’s more so when you throw so many random curveballs at your audience, without ever explaining how they are done, and are only used to keep the story moving, then I have a bit of a problem. I’ll get on any movie’s case for it. However, it just so happens that the one movie’s case I’m getting on is Michael Mann’s first in a long time.
Welcome back, Michael. Hope you stay around some more and at least make some better movies.
Consensus: Though it thinks it’s smarter than it ought to, Blackhat still works best whenever Michael Mann is allowing for all sorts of violence to blow-up and hopefully get past a poorly-cast, but trying, Chris Hemsworth.
6.5 / 10 = Rental!!
Photo’s Credit to: Goggle Images