To foil an extortion plot, an FBI agent undergoes a face-transplant surgery and assumes the identity 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.
Under the watchful eye of his mentor Captain Mike Kennedy, probationary firefighter Jack Morrison matures into a seasoned veteran at a Baltimore fire station. Jack has reached a crossroads,... See full summary »
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 »
When the agent Roberts spills coffee and pushes Axels lawyer in the interrogation room toward the wall , the "wall" clearly moves/flexes revealing a rather flimsy set . 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 ...
See more »
The last credit reads "Final Password: Vernam", which is part of the website game. (See Trivia). A Vernam cypher is a method of encrypting a message. See more »
Too much gloss can't hide a middling action thriller - 53%
There are, in my mind, two things that the film "Swordfish" is famous for. The first is the fact that it features what I think is the most beautiful car ever produced - the British-made TVR Tuscan. It's the sort of car you'd like to see parked in your drive every morning, even if you weren't going to drive it. The second is that it's the first film that Halle Berry decided to get her baps out in and unnecessarily so, as it turns out. While I debated with myself which one of the two I'd rather look at, the film continued on it's crash-bang-wallop course of international computer hackery and stylish but maniacal villains.
In "Swordfish", we enter the world of Gabriel Shear (John Travolta, looking all the world like a 21st century Dracula) - renowned playboy, super-fly criminal genius and determined to pull off the heist of the century. He's James Bond, Shaft and Austin Powers in one, if you can imagine so much ego fitting into an Armani suit. He recruits washed-up former hacker Stanley Jobson (Hugh Jackman) to provide various worm programs and hacking expertise to steal 9.5 billion dollars from under the US Government's nose. As you do. For Stanley, it's a no-win situation. Enticed by the prospect of a major pay-off and custody of his daughter from his ex-wife, Jobson would tell Gabriel to shove his job if it wasn't for the mysterious but sexy Ginger (Halle Berry) egging him on. And jitters are the last thing the ruthless Gabriel needs.
Despite his enthusiasm for the picture, producer Joel Silver has gone down a notch on my list of favourite people in Hollywood. This is as disposable action as you can get, almost as if he's trying to out-do Jerry Bruckheimer. The explosions are bigger, the stakes are higher (nine and a half billion, for God's sake!) and the characters are cooler. Or so he thinks. Truth is, the near-constant kaboom of special effects and pyrotechnics drown out what might have been an intelligent thriller. By the time of the ridiculous finale (which makes no sense at all), you've already forgotten everything else. And aside from Jackman and Travolta who have most of the dialogue, Berry and Gabriel's henchman Marco (Vinnie Jones, bizarrely if your name's Marco) have next to nothing to do. Berry strips and Jones grimaces like their lives depended on it. Berry should know better but for the inexperienced former soccer thug, this should be a lesson well learnt. But then again, this didn't stop him from remaking "The Mean Machine".
As action films go, it is undeniably entertaining. The plot twists its way around the action, revealing more about Gabriel and why he's such a sanctimonious prat. And the set-pieces are also very impressive, if slightly over the top. Simply by shooting a SUV can one cause the vehicle not only to explode like the Manhatten project but also make the now flaming wreckage flip through the sky like a Romanian gymnast. Physics clearly don't apply in LA, like the strange time-bubble surrounding the city which allows Gabriel to fly to Oregan and back in less than an afternoon. Hmmm, says I. Clearly, the film-makers were trying to make as entertaining a piece as possible but they over-did it. Less is more, or so they say and it is advice Silver and director Dominic Sena would be wise to listen to. Shame, really. That TVR is just gorgeous...
117 of 180 people found this review helpful.
Was this review helpful to you?