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.
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 <email@example.com>
When the FBI agents are watching Gabriel and Stanley, one of them looks through the viewfinder of a camera (Canon XL1s) with a large lens. It is clearly visible that the viewfinder cable is not connected with the body of the camera. 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 categorize Swordfish as a "comic book" movie. It's action packed, it's clever, it's unrealistic and it's over the top.
Every scene is designed to exceedingly stun, surprise, excite, frighten, or whatever...as if the director didn't want want a second of footage that resembled real life. Even Huge Jackman's "daughter," a young girl kidnapped by the bad guys, was over the top in appearance and attitude. In the end, I didn't care much whether or not he got her back.
Yet, despite all this I was entertained by Swordfish. I thought the acting by Travolta, Jackman, and Holly Berry was superb. Hell, to see Holly breasts alone was worth the price of the ticket. I just wish the director would have given up the comic book mentality once in a while and had given us something to genuinely like or care about the characters. I've seen too many movies like this in the last decade -- heavy on suspense, lite on substance. That's not to say that the movie didn't put forth a deeply important message, it did. The problem was the message was buried under so much hype and fluff that it got lost, for me.
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