#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: Rogue agent Gabriel Shear is determined to get his mitts on $9 billion stashed in a secret Drug Enforcement Administration account. He wants the cash to fight terrorism, but lacks the computer skills necessary to hack into the government mainframe. Enter Stanley Jobson, a n’er-do-well encryption expert who can log into anything.
Smart Tags: #computer #oral_sex #fellatio #terrorism #secret_agent #wearing_a_sound_wire #told_in_flashback #computer_hacker #mass_murder #bank_robbery #senator #hostage #terrorist #breasts #bare_chested_male #revelation #raised_middle_finger #punched_in_the_stomach #heist #male_objectification #codename
|6.5/10 Votes: 176,567|
|6.2 Votes: 1958 Popularity: 16.888|
Like a good old-fashioned action movie, but with a good plot.
Swordfish was one of my anxiously awaited summer flicks. And after seeing it a couple hours ago, I am not at all disappointed. It’s been awhile since I’ve seen a truly enjoyable, mature action movie. With the slew of PG-13 action movies of recent years, it’s refreshing to see one that at least acknowledges that many intense situations do involve language, sex, and mixed character reactions – it wasn’t just another black and white, good and bad movie where the good guy does only good things and the bad guy has only evil intentions. The good guy (Jackman) didn’t always do the right thing, and the bad guy (Travolta) could hardly be accused of sinister motives.
The film starts off with a bang … literally. A big-time action sequence to get out attention, then a flashback to show how the climax of the film came to pass. The out-of-order editing was actually effective and interesting, rather than seeming like yet another failed attempt to mimic Pulp Fiction and those other movies that brought attention to the idea of showing a film out of chronological order.
Jackman was great as computer hacker Stanley Jobson, devoted father who just happened to get brought down for computer-related felonies after hacking into and making public an FBI e-mail surveillance operation. Forbidden to even touch a computer for the rest of his days, he is lured back into the life by Travolta, who offers him $100,000 just to meet him (and take an interesting version of an initiation). Jackman is quickly becoming Hollywood A-list material, and with his performance in Swordfish, it’s easy to see why. He can keep up with the smooth-talking, fast-moving Travolta as well as show enough emotion to make him seem like a real person and not just a run-of-the-mill action hero.
The plot of the film is fantastic. It’s not just a typical heist film, or action plot where the hero has to save the hostages, blowing the hell out of the bad guys in the process. The plot is complex, interwoven, and has a point. The plot was crucial to keeping interest during the slow parts of the film. Starting out with an action sequence carries the danger of losing audience interest if not followed up by more and more action. Thankfully, the plot manages to retain interest during those points in the film where things aren’t exploding and buses aren’t flying through metropolitan airspace, suspended from a heavy loading chopper.
The best part about this film was the interractions between the characters. Stanley is a smart guy, and Gabriel’s smarter. Just when Stanley (and the audience) thinks they have Gabriel in a tight spot, he’ll surprise everyone with some improvised ingenuity. There are so many films in the action genre that result to dumbing down the smart villains, just so the hero of the story will look good when he comes up with a relatively weak solution to the complex plot. The villains often slip up or make some kind of fatal faux pas in judgment that allows the hero to triumph. There’s none of that here. The hero and villain are both smart, and both stay that way until the very end.
This is a great summer movie. See it. See it twice or three times, even. If you’re looking for high art or something that really speaks to you and changes the way you see the world, don’t see it. But if you want to see a movie for the sake of entertainment and having a good time, Swordfish is the movie to go to. If Swordfish is any indication of the rest of this summer’s big action blockbusters, we’re certainly in good shape this year.
Sick, sick, sick…
SPOILER WARNING : this movie has the most repulsive morality I have seen in a LONG time. We are supposed to root for a heroic villain with despicable methods (slaughtering innocent bystanders) just to keep the American way of life safe, no matter what the cost. The fact that all these innocents are considered as pawns by the filmmakers, not even given a shred of individuality or humanity, just shows how utterly immoral and dishonest the whole enterprise is. If this is what the action movie has stooped to, then maybe the whole genre should be put in the cooler for a few years. And the writer obviously never heard of the saying ‘patriotism is the last refuge of the scoundrel’. Instead, in the world of Swordfish Might Makes Right, and any terrorist attacks on Americans are ‘rightly’ avenged on an innocent civilian population. Apart from this moral point of view which will play really badly outside of the US (but then, who cares about the population of 5 other continents, right?), the movie as a whole is disappointing. The plot never makes much sense, the emotional aspects of the story are forgotten quickly and clumsily developed. Hugh Jackman should go very far, he is reminiscent of the younger Mel Gibson and a magnetic screen personality. Unfortunately, the character is so underwritten that he spends the last 40 minutes scowling desperately, rather than being allowed to actually act. Add some excessive CGI which diminishes rather than enhances the spectacle, some really bad one-liners and an unfortunate penchant for ridiculous sub-Tarantino monologues about movies (geek country – would any rogue superspy REALLY spend his time thinking about the difference between Hollywood movies and real life? Of course not. But slacker video clerks would), and you are left with a subpar action movie which leaves a truly foul taste in the mouth. Any good points? Well, Jackman, of course, and the sight of a bus being hauled over the LA skyline by a helicopter. But apart from that, a total waste of time, money and (some) talent.
Original Language en
Runtime 1 hr 39 min (99 min)
Genre Action, Crime, Thriller
Director Dominic Sena
Writer Skip Woods
Actors John Travolta, Hugh Jackman, Halle Berry, Don Cheadle
Awards 5 wins & 10 nominations.
Production Company Jonathan Krane Group, Warner Brothers, Silver Pictures, Village Roadshow Prod.
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.35 : 1
Camera Arriflex 435, Panavision C- and E-Series Lenses, Panavision Panaflex Lightweight, Panavision C- and E-Series Lenses, Panavision Panaflex Millennium XL, Panavision C- and E-Series Lenses, Panavision Panaflex Platinum, Panavision C- and E-Series Lenses
Laboratory Technicolor, Hollywood (CA), USA
Film Length 2,780 m (Spain)
Negative Format 35 mm (Fuji Super F-250T 8552, Super F-250D 8562, Super F-500T 8572)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm (Kodak Vision 2383)