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2015 | 2014 | 2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007

1-20 of 27 items from 2015   « Prev | Next »

6 Quick Ways Johnny Depp Could Be Cool Again

26 January 2015 2:27 PM, PST | Hitfix | See recent Hitfix news »

Like any human, I saw the posters for "Mortdecai," rose from my seat, and sprinted into a wall. What was this damn thing? Johnny Depp and cronies Gwyneth Paltrow, Ewan McGregor, and Olivia Munn wore silly mustaches and expected to seem, I guess, irreverent and wacky. Instead they looked like they were starring in a movie adapted from a Pringles can, and the world frowned.  "Mortdecai" also underlined the fact that Johnny Depp's presence as a Hollywood titan has been transformed and warped in the past decade. He got a taste of that Jack Sparrow hokum dollar and never looked back. Or if he did look back, he did it with a woozy Keith Richards glance that makes everyone with brain cells roll their eyes.  Let's make Johnny Depp cool again. Here are six ways he could regain some of the "it" factor that kept him seeming bad-ass for »

- Louis Virtel

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Shawn Hatosy Signs With Mgmt Entertainment

23 January 2015 1:47 PM, PST | Deadline New York | See recent Deadline New York news »

Exclusive: Shawn Hatosy, who’s set to do a guest arc on Amazon’s February debut series Bosch, has signed with Mgmt Entertainment (née The Schiff Company) for management. The Faculty and Outside Providence thesp earned a Critics’ Choice nomination for his turn on the NBC/TNT police drama Southland and most recently co-starred as a deliciously complex dirty cop on CBS’ short-lived legal drama Reckless. Onstage he earned raves last summer for his turn in Neil Labute’s Reasons To Be Pretty at the Geffen Playhouse. Hatosy’s credits over two decades of screen acting include Nick CassavetesJohn Q and Alpha Dog, Wayne Wang’s Anywhere But Here, In & Out, The Cooler, Public Enemies and Bad Lieutenant: Port of Call New Orleans. He continues to be repped by Paradigm.


- Jen Yamato

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Johnny Depp’s Last Great Movie

22 January 2015 7:17 AM, PST | | See recent FilmSchoolRejects news »

Johnny Depp‘s latest movie, Mortdecai, is hitting theaters this weekend, and by all accounts it’s horrifically unenjoyable. Which you probably could have guessed. The trailer, the goggly-eyed posters and, hell, even the title with its superfluous T all pointed to self-parody without self-awareness. It shows Depp at his most rubbery, trying so damned hard to make a mustache wink that you could almost see him panting. That’s our consistent vision of the actor now, at least. A caricature who loves putting on funny hats or facial hair and acting absurd despite the silence coming from the crowd. In a way, that persona feels new, with every thinkpiece written about him tilting reverently toward a time in recent history when he wasn’t so desperate and cartoonish. When we loved him. When he was great. So I started wondering how long that’s actually been going on, which led me to question what his last »

- Scott Beggs

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Eastwood’s Fistful Of Dollars: ‘Sniper’s Cume At $110.4M – 4-Day Actuals

20 January 2015 3:48 PM, PST | Deadline New York | See recent Deadline New York news »

6th Update, Tuesday, 3 Pm: Rentrak Theatrical filed the weekend’s actuals with Warner Bros.’ American Sniper counting a four-week cume through yesterday of $110.4M. Talk about the spoils of war: American Sniper propelled the 2015 box office, in its first 19 days, 3.6% percent over the same frame last year with $667M. It stands to reason that this would be the highest-grossing four-day Mlk weekend of all-time with $248.5M after American Sniper broke a slew of records, read Eastwood’s career-high bow, best three-day opening ever during January and February. Previous Mlk record was 2009 with $231.5M when Sony comedy Paul Blart: Mall Cop zoomed up a four-day bow of $39.2M. American Sniper had the biggest theater average of the four-day weekend with $30,100, followed by Sony Classic’s Still Alice, which chalked up $20,685 PTA or $248K in 12 venues.

The consensus is that American Sniper is going to hold for another two weekends. Wide releases »

- Anthony D'Alessandro

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The Speed of Causality: Michael Mann's "Blackhat"

20 January 2015 11:39 AM, PST | MUBI | See recent MUBI news »

“Look at where you are.”

(Spoilers abound.)

Michael Mann’s new film, Blackhat, is a paradox of magnitudes and proximities. The scale is global, as announced in the opening shots that rhyme with the Universal logo just prior and, thanks to the dissolves down to Earth, Charles and Ray Eames' 1977 Powers of Ten. Once on ground, in a nuclear reactor’s control room, the powers of cinema take us yet deeper, smaller, to see how fast data travels across minuscule relays inside a screen, a computer, a network. And this data, or code, is made visible as points of light—dots arrayed and racing in tandem with the image (itself a fiction of code, or data) of this new vast universe—given weight through the thunder and crackle of sound design—a truly cinematic sequence of movement/animation no text can replicate.

This opening serves to illustrate the mechanisms »

- Ryland Walker Knight

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Watch: The Cinema of Michael Mann

20 January 2015 8:41 AM, PST | Filmmaker Magazine - Blog | See recent Filmmaker Magazine news »

Released this past Friday, Michael Mann’s Blackhat has already proven a colossal flop, which is a shame: following up on Collateral, Miami Vice and Public Enemies, it’s another never-less-than-visually-intriguing investigation of the kinds of truly new images digital cameras can produce in the guise of a cyber-hacking thriller. Go check it out while you still can. Beforehand, you may want to prep with this above-average supercut credited to one “balistik94,” which ties together Mann’s filmography in a number of different ways: dialogue that persists from one film to another (“Time is luck” as recited by both Gong Li in Miami […] »

- Vadim Rizov

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Michael Mann wants to derive an aesthetic from what digital photography can do

16 January 2015 5:10 PM, PST | Hitfix | See recent Hitfix news »

Beverly Hills — When sitting down for a "Blackhat" chat with director Michael Mann a few weeks ago, I had to ask him about the transition to digital filmmaking as an industry standard. Having already queried a number of our top cinematographers on the matter and written a piece about "Collateral's" legacy in that regard, and given the techno-drive of a movie like "Blackhat," it felt like territory worth digging into. And Mann digs in with intellectual ferocity, like anything else. "When I first shot some stuff digitally it was in 'Ali,'" he says. "We went on the roof of a building in Chicago, we had a couple of cameras and I took a flashlight, bounced it off a card and that was all the lighting. It was very little lighting. And it felt that what I saw was there was a truthfulness to the graphic that just blew me away. »

- Kristopher Tapley

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Film Review: Blackhat

16 January 2015 10:08 AM, PST | LatinoReview | See recent LatinoReview news »

A random person somewhere in the world pushes a button on a keyboard and a nuclear reactor in China blows up. Next, the same anonymous cyber-terrorist pushes the same “Enter” key and stock prices in the Us begin to inflate, causing a potential market crash. This is the operative threat at hand in Michael Mann’s first film in six years, Blackhat. The film, which wavers between tedious implausibility and the classic, stylish meticulousness that Mann has fashioned into his auteurist calling card, always keeps the unknown danger that could come from anywhere at anytime in the back of its head. It’s the potential danger that electric pulses running across a few pieces of plastic can wreak havoc on a global scale that gives Blackhat a real jolt out of the gate. Too bad it never coalesces into something that lives up to what it initially guarantees.

Acting like »

- Sean Hutchinson

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‘Blackhat’ is a cyber-thriller that makes Solitaire look exciting

15 January 2015 6:08 PM, PST | SoundOnSight | See recent SoundOnSight news »


Written by Morgan Davis Foehl

Directed by Michael Mann

USA, 2015

Blackhat is a cyber-thriller that starts out boring and ends dumb.  It’s almost unimaginable that a gifted director like Michael Mann, responsible for, arguably, the best crime-thriller of the last 30 years in Heat, could helm a film so utterly bereft of tension or drama.  Not even his signature hyper-stylized aesthetic can disguise what a lackluster film this is.  From the unimaginative script to the indifferent editing, Blackhat needs a complete overhaul to escape the basement of Mann’s distinguished filmography. 

Watching people play on the computer is like being the designated driver at a bachelor party.   That this genre peaked with WarGames over 40 years ago is a clear indication that cyber-thrillers are anything but thrilling.  Mann uses every trick in the book to make the Internet wankery interesting—including a rollercoaster ride inside the circuitry itself—but he »

- J.R. Kinnard

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Exclusive Cool Video: Top 10 Michael Mann Movie Moments

15 January 2015 3:09 PM, PST | | See recent JoBlo news »

Who doesn't love a good Michael Mann movie? After decades behind the camera with movies like Thief, Manhunter, and The Insider, Mann rebooted his career after discovering the freedom of using digital versus celluloid. We have gotten movies like Collateral, Miami Vice, and Public Enemies and now, after six years since his last film, we now have Blackhat. Check out our review of Mann's latest as well as the video below which compiles our ten favorite scenes from the »

- Alex Maidy

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Michael Mann Responds to ‘Blackhat’ Composer’s Criticism (Exclusive)

15 January 2015 2:39 PM, PST | Variety - Film News | See recent Variety - Film News news »

Only days before the January 16 opening of Michael Mann’s new cyber-thriller “Blackhat,” one of the film’s credited composers, Harry Gregson-Williams, took to Facebook to voice his displeasure with how his work was – or wasn’t – used in the film, asserting that the film “contains almost none of my compositions. … I was not the author of most of what is now in the movie.”

He subsequently removed the posting, but not before a new Hollywood controversy was born.

Variety contacted Michael Mann for a response to Gregson-Williams’ complaint, and the “Blackhat” director was clearly standing his ground while also extending an olive branch — of sorts.

“Harry’s a talented composer whose music needed editing and remixing to fit the very contemporary subject and ambitions of my picture,” said Mann. “He was one of (several) composers who contributed to the score — along with Atticus and Leo Ross, Ryan Amon and Mike Dean. »

- Variety Staff

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Forecast (cont.): 'Paddington,' 'Blackhat,' 'Spare Parts'

15 January 2015 2:36 PM, PST | Box Office Mojo | See recent news »

<< Continued from "Weekend Report: 'Sniper' Sets Sights on January Record"At 3,303 locations, Paddington is shaping up to be a solid choice for family moviegoers this weekend. The movie was originally scheduled to open on Christmas Day; recognizing that there was an abundance of family options around that time, the Weinstein Company smartly moved Paddington back to this less crowded mid-January date. In the past, Martin Luther King, Jr. weekend has proved a good launching pad for family movies. Last year, The Nut Job earned $25.7 million over the four-day weekend, while Beauty and the Beast (3D) took in $22.2 million over the long weekend back in 2012. With great reviews (97 percent on Rotten Tomatoes) and a solid marketing effort, Paddington seems poised to open in a similar range.Opening at 2,567 theaters, Michael Mann's Blackhat will probably be the odd man out this weekend. While Mann has a vocal fan base, it's unlikely »

- Ray Subers <>

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'Blackhat' Review: A Terrifically Entertaining Cyber Thriller

15 January 2015 8:30 AM, PST | Moviefone | See recent Moviefone news »

Movies about computers or computer hackers have never been particularly exciting, at least on the big screen. Maybe that's because the act of typing something on a keyboard while little words or hieroglyphics of code appear on the screen in front of you isn't the most cinematic conceit. There's not a lot of drama or suspense to be mined from, say, checking your email or engaging in an online chat. No matter how fraught with tension these acts are in real life might seem, they rarely translate to anything even remotely gripping on the big screen. And there is a used car lot full of movies that have attempted to mine thrills from people doing things on a computer and failed miserably ("The Net," "Hackers," "Swordfish," etc.)

All of this brings us to "Blackhat," the latest film from Michael Mann, arguably one of American cinema's most visceral filmmakers. It's odd »

- Drew Taylor

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Top 20 Most Anticipated Movies of 2015

14 January 2015 10:53 AM, PST | Rope of Silicon | See recent Rope Of Silicon news »

I've already listed my top ten most anticipated blockbusters of the new year and now I'll take a look at the rest of the field as I've done my best to whittle things down to an even twenty films. So before you get in a huff that your favorite franchises aren't listed, just remember you can view all my anticipated blockbusters right here, I simply didn't know how to write the headline other than to just say these were my most anticipated movies without any further distinction. That said, I think I have a nice rounded list for you here. Obviously several from the major studios, but also a few overseas entries to spice things up. Plenty of Tom Hardy and Jake Gyllenhaal and a couple starring Rachel Weisz along with several of my favorite directors coming with new films for the new year. If you're wondering where films such »

- Brad Brevet

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Review: Michael Mann's Blackhat Bytes

14 January 2015 10:25 AM, PST | GeekTyrant | See recent GeekTyrant news »

As a shadowy hacker causes a nuclear meltdown at a reactor in China, the camera dives into a series of wires and flies through the microscopic highways of a computer chip, lights indicating the 1s and 0s that are altered to trigger the disaster. It's a cheesy CGI moment reminiscent of something you'd see in a 1990s movie about hacking, and director Michael Mann uses the gimmick twice in the first ten minutes of Blackhat. Things do not get better from there.

A Chinese computer expert (Leehom Wang) teams with an American FBI agent (Viola Davis) to track the man responsible for the crime. The only man who can help them is Nick Hathaway (Chris Hemsworth), a convicted hacker serving a thirteen year prison sentence. Pulling Hathaway from prison, the gang begins trying to unravel artifacts of code left behind in order to pinpoint the identity of the hacker before he strikes again. »

- Ben Pearson

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Blackhat Review

14 January 2015 9:55 AM, PST | We Got This Covered | See recent We Got This Covered news »

Blackhat isn’t a failure because it’s a January release, it’s a January release because of a miscast hacker hero who’s an unbelievable super-spy battling a nasty “buttoned-shirt” allergy. Liam Hemsworth tried his hand at the cyber-thriller genre with 2013’s atrocious Paranoia, and this year sees his brother Chris attempting his own brand of ass-kicking techno-intensity under the guidance of director Michael Mann (Public Enemies) – short circuiting thanks to its own unique backlog of bugs. Be it Mann’s constantly out-of-focus vision, Hemsworth’s lame Rocky Balboa accent (listen for it), or writer Morgan Davis Foehl’s nauseatingly formulaic screenplay, Blackhat is nothing but awkward product placement and safely coded criminal dramatics. An actual Y2K bug would have been a more welcoming start to 2015 – yikes.

Chris Hemsworth stars as Nicholas Hathaway, an incarcerated computer wiz who is selected to join a team of American and Chinese »

- Matt Donato

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Harry Gregson-Williams says Michael Mann ignored his score for Blackhat

14 January 2015 3:34 AM, PST | | See recent JoBlo news »

Michael Mann's latest, focusing on a furloughed convict (Chris Hemsworth) and his American and Chinese partners as they seek to bring down a high-level cybercrime network, hits in just two days' time. Blackhat is Mann's first film since 2009's Public Enemies and for those of you who may have been looking forward to Harry Gregson-Williams' score for the film, I have some unfortunate news. Williams took to Facebook earlier to announce the following regarding his »

- Sean Wist

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Review: Michael Mann's stupid cyberthriller 'Blackhat' strands Chris Hemsworth utterly

13 January 2015 9:00 PM, PST | Hitfix | See recent Hitfix news »

There are moments where a talented director makes a film so bad that you feel like you might need to go back to watch their earlier films just to make sure you weren't wrong when you liked them. "Blackhat" is the worst film Michael Mann has made since "The Keep," and I think given the choice between the two, I would happily watch "The Keep" again first. I am baffled by almost every moment of "Blackhat," and I'm struggling to make sense of where something goes this wrong. I haven't read the spec that Morgan Davis Foehl sold to the studio, but I know that Mann felt strongly that he deserved a co-writing credit on the film, one that the WGAw denied him after an arbitration. I'm not sure who to blame for the truly unfathomable narrative choices throughout, but I have to give Mann the final credit for creating »

- Drew McWeeny

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‘Blackhat’ Review: Chris Hemsworth Goes Clickety-Clack in This Hacky Hacker Thriller

13 January 2015 8:13 PM, PST | The Wrap | See recent The Wrap news »

Blackhat” is such a massive fiasco that it’s hard to know where to begin analyzing it: There’s the screenplay by Morgan Davis Foehl, which alternates between dull, rushed exposition and an utter disregard for logic and narrative.

One might also catalog the terrible acting of everyone on screen not named Viola Davis, or the eye-scorching cinematography by Stuart Dryburgh (“The Secret Life of Walter Mitty”), which follows in the footsteps of director Michael Mann’s “Public Enemies” by making expensive digital camerawork look like a cross between Dogme 95 smudge and footage from an iPhone that fell in a toilet. »

- Alonso Duralde

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'Blackhat' Composer Harry Gregson-Williams Says Michael Mann Scrapped Most Of His Score

13 January 2015 8:27 AM, PST | The Playlist | See recent The Playlist news »

"He doesn’t like too many twists and turns in the music’s structure. He really responds to things that evolve very, very slowly. He wants music that the images, the edits, the dialogue can float above without it corresponding too much," "Heat" and "Public Enemies" composer Elliot Goldenthal told The Wall Street Journal in 2002 about working with Michael Mann. "With Michael, you have to be prepared to make a lot of changes. He changes his mind. He watches the movie everyday in total and makes adjustments so you have to know the job is making adjustments along the way as well." In other words, Mann is just as exacting on the score as he is on every other part of the process in making a movie, but for his latest film "Blackhat," that attitude has left at least one collaborator miffed. Composer Harry Gregson-Williams ("The Equalizer," "The Town") took »

- Kevin Jagernauth

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