Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
To foil an extortion plot, an FBI agent undergoes a face-transplant surgery and assumes the identity and physical appearance of a ruthless terrorist, but the plan backfires when the same criminal impersonates the cop with the same method.
When the DEA shut down its dummy corporation operation codenamed SWORDFISH in 1986, they had generated $400 million which they let sit around; fifteen years of compound interest has swelled it to $9.5 billion. A covert counter-terrorist unit called Black Cell, headed by the duplicitious and suave Gabriel Shear, wants the money to help finance their raise-the-stakes vengeance war against international terrorism, but it's all locked away behind super-encryption. He brings in convicted hacker Stanley Jobson, who only wants to see his daughter Holly again but can't afford the legal fees, to slice into the government mainframes and get the money. Written by
Jeff Cross <firstname.lastname@example.org>
The scene in which the school bus is swung was actually shot by hiring a group of people to sit in a bus, in front of a blue screen, while they swung the bus from a crane. According to the stunt coordinators, the same effect could have been portrayed for half the cost. See more »
The headrest in Stanley's car changes position when he drops his daughter off. See more »
You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now I'm not some grungy wannabe filmmaker that's searching for existentialism through a haze of bong smoke or something. No, it's easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as "prose". No, I'm talking about the lack of realism. Realism; not a pervasive element in today's modern American cinematic ...
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The opening studio logos for Warner Bros and Village Roadshow Productions flicker as if they were on a problematic computer screen. Other than those logos and the movie's title, there are no opening credits. See more »
I just love movies like "Swordfish". Like clockwork they bring egghead, elitist critics out of the woodwork and send them into tizzies about logic, acting and depth as it they expected something Shakespearian out of a Joel Silver action movie about computer hacking and terrorism. It's one of those movies that sends critics on tirades about "the state of movies today" as if every movie released now is mindless, ultra-violent trash and every movie made in the past was modest and sensible art. In actuality, the reason I like "Swordfish" so much is because it is so rare. At the time of it's release the reverse is actually true- MOST action movies nowadays homogenize themselves into a commercially friendly PG-13. Movies like "XXX", "The Fast and the Furious", "Armageddon" and Sena's own "Gone and Sixty Seconds" would have been much more interesting had they been sectioned off as adults only flicks and allowed to do what they want instead of sticking a bunch of sex and violence under the radar of a teenagers PG-13 movie. However, Swordfish is none of these things. It is visceral entertainment- nothing more. It is more of a throwback to sensational, hyper-violent action movies of the 60s and 70s. It doesn't want to hear your story. It is not in competition with any Oscar contenders, it is mindless, intentionally ridiculous, sensational and proud of it. It is a top-notch guilty pleasure. Take it for what it is, not what you want it to be. If you took this movie seriously the joke is on you.
The opening scene features a well written monologue by John Travolta complaining about the lack of "realism" in today's movies. From that moment on "Swordfish" goes on to be one of the most convoluted and absurd things I've seen in a long time. It seems to be having a lot of fun throwing one extreme and nonsensical idea after another at the audience- as a result the fun is infectious. Much of the fun of this movie is laughing along with it as to how silly it is. It hits all the points crucial to making a great guilty pleasure. There are plenty of explosions (the slow motion opening is an eye-popper), bloody shootouts, sex and nudity without any false dramatic pretense. Skip Woods dialogue is served best when pointing out the films absurdities ("I just watched that madman murder 8 men in the street"). The visuals are stunning. The cinematography is glossy and the whole film is washed out in this retro yellow palette. Paul Oakenfield's music (featuring "Lapdance" and the end credit "Get out of My Life Now") and the rest of the soundtrack ("50,000 Watts of F---ing") is absolutely perfect. The pace is slick and quick and the story cycles around in a nifty non-linear format. Obviously, the acting is nothing that was Oscar snubbed, but everybody is on the same page with the director's vision. Travolta hams it up fantastically (rescuing himself form recent bombs) and Hugh Jackman (who finds himself running around in a suit and tie with a rocket launcher before it's all over) is a likeable reluctant hero.
I rented it expecting trash and got exactly what I expected. But it is superior to a lot of other guilty pleasures because it does have an imagination. Yes, in all the madness and mayhem there is some gruesome creativity at work. Obviously not for all tastes, if you want a truly "good" movie you can intellectually discuss with your friends go search in the Independent Films section- there are plenty of great one's out there. But every once in a while I get in the mood for a pure fun movie to contrast those and "Swordfish" fits the bill gloriously. Personally I'll take "dumb" over "boring" any day.
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