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.
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>
The original screenplay draft had a very different take on the Gabriel Shear character. He was first written as a mercenary whose plan for the stolen DEA funds had him joining forces with military and intelligence figures and planning to destroy corrupt politicians, and had several lengthy monologues in which U.S. agents listened to him and then joined his crusade on the spot. While the funding/covert war angle was maintained, Skip Woods later remade Gabriel Shear into a patriotic agent who seeks to destroy world terrorists, and who kills the Senator and his aide for trying to kill him and stop his plans. See more »
After driving his daughter home, Stan reverses his car and hits the door of the FBI agents' car, breaking its passenger side window. When the car later catches up to him, you can see that its door and window are still in perfect shape. 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 »
Here's a film I really liked the first time, and was totally turned off on the second viewing as the Hollywood bias machine was in high gear again, and you can guess in what director (left or right). Anyway, two things remained the same: John Travolta as "Gabriel Shear" was riveting as an anti-terrorist terrorist. The explosion scene where people are flying sideways is awesome, particularly in the sound department if you have surround system. Oh, and yes, Halle Berry and her figure was on display in this film and quite a sight. Wowzer!
Some of this script is a takeoff on Dog Day Afternoon, which Travolta's character re-enacts a role from that famous '70s film. "Shear" talks about that movie during the film.
I almost got discouraged watching this in the first half hour because there is so much computer terminology that I was lost. However, if you find yourself in a similar spot, take heart because that that ends after that first 30 minutes and is no longer a problem.
Credibility and bias aside, it's still a fun movie for at least one viewing, with that early bomb scene most memorable.
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