Blackhat (2015)

Critics directed quite a bit of derision towards this new Michael Mann film when it came out last year, and it’s certainly a very odd film in many ways. For a start, most obviously, it’s about computer hacking, a notoriously difficult thing to make visually interesting, though Mann does his best with an opening sequence tracking computer data transfers via swooping CGI shots along lit-up wires and through circuits across the world. More noticeably, he has Chris Hemsworth play our computer-hacking hero Nicholas — perhaps a suspension of disbelief too far for some — who is seen at the start locked up in prison, which can surely be the only excuse for his taut, muscled body. Then on top of this is added a bunch of fairly straightforward action scenes involving running, kicking, jumping, explosions, all the usual stuff, because basically the film quickly moves from the realm of cyber-terrorism to real-world undercover policework, as some FBI handlers are introduced (Viola Davis, most notably) and then Chinese government officials (Leehom Wang as Captain Chen, and Tang Wei as his sister Lien, also an IT specialist, and putative love interest for Nicholas). Setting all this aside — and there’s some slightly patchy pacing on the way as the story develops — it’s actually fascinating for being a mainstream big-budget Hollywood action-thriller which has a genuinely diverse cast. Sure, Bond and Bourne jetted around the world, but they don’t feel as properly international as this film does. My feeling is that opinion will shift over time to regard it rather more positively, as I think it moves the genre in an interesting direction, and there’s rarely so little of interest to most action thrillers.


FILM REVIEW
Director Michael Mann | Writers Morgan Davis Foehl and Michael Mann | Cinematographer Stuart Dryburgh | Starring Chris Hemsworth, Wei Tang, Leehom Wang, Viola Davis | Length 133 minutes || Seen at home (Blu-ray), London, Saturday 13 February 2016

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One thought on “Blackhat (2015)

  1. I agree – watched this a couple of months ago and I think it was unfairly maligned when it came out this time last year. Seemed OK to me. I’d be keen to check out Mann’s different cut, which apparently he has spent the past few months putting together, and which moves certain scenes around so that it resembles a timeline he’d originally intended (plus apparently there’s quite a bit more of Viola Davis).

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