Blackhat

Michael Mann’s realistic and damn serious form again works great and one scene (unfortunately not the final one) is also stunning in its impact on the development of the story. Hemsworth’s uncompromising character of a hacker convict gives the film some balls and serves as a good driving force. The problem, however, lies in the script, which is simply not clever and sufficiently thought through to match Mann’s unique form (and it would be more fitting for a film with Wesley Snipes from a second-tier director). Mann’s films don't need a complicated plot. They are strong in the psychological portrayal of the main characters and fatally entangling them in banal but brutal crime plots. Blackhat works with a non-banal crime plot in an unfortunately oversimplified way, and the same goes for the psychological depiction of the characters. (01/14/2015)

Mann is undoubtedly capable of more than only making a "sophisticated B-movie". But it's still more entertaining and disproportionately better shot than most of the other movies in this genre. It is a slowly developing thriller in a trademark Mann's neon hypnosis style, where computers replace guns and command lines bullets. And to its detriment, the movie is largely ruined by the final scene with "two person on the run longing for revenge" that immediately turns it into overplayed mediocre genre movie that has nothing to offer and is completely predictable. (01/13/2015)

It's neither a high-end love story, nor the 1930s with digital camera, but it still has a lot of trademarks that you either love or don't know about Michael Mann. There are directors who will never succeed at this, there are those who can precisely grasp the moment when the world needs it and rewrite trends (The Matrix), and there are even those who are called pioneers and lay the foundations of what we will appreciate in cinemas years later, the ones who surpassed in what and how they express their times and generation in film. Michael Mann is such a director. He was in the 1990s, the 2000s, and the 2010s. He is always one step ahead and his films are rated higher with the passage of time. (01/16/2015)

Thor may not have his hammer, but he does just fine with a keyboard and a screwdriver. And Michael Mann, due to various technical finesse, sometimes tries the viewers' attention too much and cannot shoot for a clean target, but his electrifying style is still equally captivating. Predecessors like Heat and Collateral are occasionally clearly visible, and that's a good thing. Digital, bullets, Chris Hemsworth, hands gripping the armrests, and a pulsating soundtrack by Harry Gregson-Williams and Atticus Ross. And a heart still beating to the rhythm even now. (01/14/2015)

Mann has still got it six years later. To see how skillfully he wields the narrative language, taking shortcuts at important moments while taking the time to develop the personal levels of the characters, is simply a joy. It's too bad that the script is one of those where the filmmaker was either pushed to the wall or squandered his potential himself. The surprising civility and moderation, where hacking isn't done by hanging ten monitors around the protagonist (wave to Swordfish), is brought down by the totally watered-down second half where interest in anything (and yet the build-up to the hard-hitting finale is there) wanes. This isn’t even fixed by the uncompromising twist (Mann has always been able to be quite inhumane to his supporting characters), and despite the fact that even though we've seen this sort of "walking" finale from Mann before, he still manages to film it in such a way that it has the right kind of gradation. [Hemsworth is likable and he puts the effort in, but this typecasting is the major casting failure of the year and I didn't buy it for even a second.] (06/20/2015)