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Set within the world of global cybercrime, Legendary's Blackhat follows a furloughed convict and his American and Chinese partners as they hunt a high-level cybercrime network from Chicago to Los Angeles to Hong Kong to Jakarta. (Universal Pictures UK)

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POMO 

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English 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. ()

3DD!3 

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English The weakest screenplay that Mann ever filmed. It’s not downright bad, just not thought out well enough and in places pretty hollow. Old man Mike doesn’t know his way around the environment where he finds himself and so he can’t make it any better. So Blackhat works excellently as a story about an ex-con trying to acclimatize himself in the world (represented in glorious locations), but he is a bit dumb during the actual search for the hacker. On the other hand, isolated moments are filmed absolutely brilliantly, i.e. the textbook bank hack - revealing a rift in quality, which is unfortunate because with a crew of this caliber he could have worked wonders. Blackhat is maybe the best movie about hackers, but it reduces its watchability when it describes what the hacking involves. Other aspects work absolutely without any problem, sweet shootouts, chilling, fatal decisions. That’s why I like Mann’s movies, and they’re still going strong. In one scene he shocks you just like old times. The acting team is super, Hemsworth comes across like somebody who understands his trade and finds no problem in getting over the fact that he looks like a model/lumberjack and the romantic storyline with Wei Tang often surfaces throughout the movie. Probably a similar “fail" as Miami Vice, apart from the fact that due to the screenplay Blackhat can’t shine with the same absolute realism. ()

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kaylin 

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English This just doesn't work. It was incredibly tedious for me and lacked any tension whatsoever. Mann showcased his strength in action scenes, which were really well filmed, but he spared them like saffron. An action thriller, or at least a thriller, and yet I was incredibly bored by it. This is what happens when someone wants to be modern at any cost. ()

novoten 

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English 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. ()

lamps 

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English Mann is still searching himself after Collateral. Hacker may be a visual and atmospheric treat that is a joy to watch, but you could almost weep at the memory of the infallible Michael from the nineties, when he was able to deliver even simple stories in a complex, emotionally and psychologically almost more mature way than Scorsese. Hacker works with a convoluted crime-romance-mystery premise featuring a bulldog character (Hemsworth), a tender and devoted lover, and a bunch of cold-blooded criminals with schemes involving tens of millions, but the way it presents the contents is so simplistic and superficial in every respect that, if you leave your brain completely off, it doesn't affect the final impression one iota, which can be truly chilling, given Mann's polished directorial style and Williams' traditionally excellent soundtrack. 65% ()

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