Ultimately, like Hemsworth, the film is too big and unwieldy for the purpose it should serve, but there are moments of magic within it. Visually Mann excels, the radical and the classical styles intertwining. It's just a shame that the script is so stock standard and banal.
The new and improved Manhunter: people become the data that speeds through the tubes (alleyways) of urban cityscapes while indistinct forces run after them. A globetrotting movie that is actually About globalization and the individual's position as a data point to be cultivated and mined. Great digital cinematography, ridiculous plot, and Chris Hemsworth hacktafisting the internet.
In a sea of tepid performances, there is an island in the form of a hero with a very convenient knowledge of everything. Around that island there is floating debris, not quite reaching land - but also not quite lost at sea. Things such as a beautiful neon palette, or good run-and-gun action thrills. In the end, the better elements are caught in limbo. It generally feels bloated and half-baked.
Everything a Mann movie represents is here. Hemsworth was a pleasant surprise. Very fit for the role in my mind, as Mann heroes always have that bit of "to good to be true" in them. They're ideallistically constructed, in both body and mind. Hemsworth projects self-control and maturity in a way that seems natural. He never looked awkward to me. If I ever see an ugly hero in a Mann film I'll know he lost the plot.
(...) Ein bisschen wirkt Blackhat so, als ob Mann das Beste aus seinen früheren Filmen verquirlt und etwas aufpoliert hätte: Leere nächtliche Strassen, denen etwas Existentielles anhaftet, Skylines, Cops und Gangster inmitten post-industrieller Landschaften. Hier wird die reale Welt von der virtuellen geschluckt - aber welche Folgen hat das für den Menschen?(...)
Visually sleek and emotionally complex. Super heavy on the sights and sounds, with a rightfully paranoid fixation on the invasive nature of technology. All of this is strung around another one of Mann's fantastic ensembles of imperfect heroes trying to do right in an uncompromising world.
An ode to the conflict that arises from the meeting of the immediacy of technology and the emotional/existential clumsiness inherent in being human. We are ensnared by the very systems that grant us unimaginable freedom of action. Mann to the core--roving aerial cityscapes, ultra-slick photography, and larger than life characters. The camera seems capable of going anywhere and doing anything. Loved it.
Un altro film tutto da guardare per Micheal Mann, pieno di immagini e di significati, intriso di malinconie, di sguardi, di elogi ai perdenti. Poco valgono le parole: l'opera in sé a livello di sceneggiatura è pure alquanto canonica; la vera gioia sta nell'osservare e nel perdersi nel microcosmo di uno degli autori più dotati del cinema moderno, incredibile narratore per immagini, capace di rendere la forma sostanza.
Blackhat seems like a movie torn between being a nuts and bolts techno-thriller and a moody Micheal Mann film, therefore ending up feeling a bit disjointed. There is surely stuff to like in it, as Mann is still an extremely solid director and there are a couple of memorable scenes in the film, but ultimately the script just doesn't seem on par with the direction.
Mann's least distinguished outing to date still is a visually stimulating high-tech thriller, gorgeously shot in digital and boosted by strong supporting performances by Tang Wei and Viola Davis. If only the Master Aesthete of Urban Criminality had a less mundane script to work with...