Swordfish Tamil Dubbed Movie Torrent
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In this futuristic technology spy movie, John Travolta plays Gabriel Shear, a man who is desperately trying to access information that is locked inside a complicated computer system that contains mountains of government secrets - and money. He hires Stanley Jobson (Hugh Jackman), a desperate computer expert, to help him hack into the system.
A covert counter-terrorist unit called Black Cell led by Gabriel Shear wants the money to help finance their war against international terrorism, but it's all locked away. Gabriel brings in convicted hacker Stanley Jobson to help him.
The opening scene was great, but then.. a baaaaad finnish hacker named Torvalds? A charismatic not-so-evil-guy who wants to kill terrorist leaders and therefor is allowed to do almost anything? And then that whole family/divorce/daughter story which you happen to find in TV productions normally? This one must have been produced for Dubya's personal joy: easy to understand, lots of patriotic emotions, and a total lack of intelligence. Poor millenium...
SWORDFISH / (2001) **1/2 (out of four)
By Blake French:
"Swordfish" contains a lot of good material, but it's cluttered by a script so complicated that even the filmmakers themselves confess the confusing character motives. "The circumstances are constantly in question," explains producer Joel Silver. "Who is bad and who is good? Gabriel is not the film's hero, but is he really bad? And Stanley is the good guy, but how good is he really? Everything is changing and shifting and every character has shades of gray."
If that is the case, for whom do we root? Is the bad guy the good guy, or is the good guy the bad guy? It this story a battle over personal perspectives on government matters? By the end of this movie, if anyone can clearly explain some of the characters true motives, intentions, identities, loyalties, and beliefs, I would hire them as my personal film interpreter. What I say doesn't make sense now, but if you see the movie you will understand my complaints.
John Travolta stars as Gabriel Shear, an enigmatic and treacherous spy who hires Stanley Jobson (Hugh Jackson), one of the best computer hackers alive, to break some airtight security systems to steal a large sum of illegal government funding. Gabriel and his beautiful young partner, (girlfriend, or whatever she is) Ginger (Halle Berry), persuade Stanley to help them with their task, but not with money or power, but with the means to reunite with his daughter. He lost custody of her after spending time in jail for hacking into the FBI's controversial cyber surveillance systems. His ex-wife, a lazy alcoholic, is now married to the an influential pornographer. Gee, I dunno-if I was a judge for a child custody case, I might rule for the girl to live with a computer hacker rather than a full scale porn king and his slacker wife with drinking problems.
The plot runs deeper than that, but I do not want to give too much away. There are subplots about government corruption, double crossing, and there is a unique bank heist and several exciting car chases. Then there is the person reuniting with his daughter, an obsessed patriot who does not know where to draw the line, and something about computer hacking? "Swordfish," details all that and more, but with a plate so full, and with so many complex issues at hand, the film needs more than just a highly stylized visual arena.
The film's, Dominic Sena, brought us the highly visual action thriller "Gone in 60 Seconds" last year. I liked that film because the action worked with the good against evil story. There is a lot of potential with this script by Skip Woods, but "Swordfish" is very different from "Gone in 60 Seconds." Sena gets away with a lack of character development and plot depth in "Gone in 60 Seconds" because it solely exists as an action picture. "Swordfish" wants to be more, therefore, Sena cannot get away with sheer style, action, and energy. The themes and motives deserve more.
According to the movie's web site, Dominic Sena wanted to give Gabriel's world a high sheen of glamour with lots of color. "We were constantly mixing gels and the color palette is pretty strong," Sena explains. "Each location had a color palette assigned to it and the practical lighting dictated the light we would use on the actors. For instance, if there was a green lantern, the light on the faces would be green instead of trying to create perfect flesh tones. It looks glossy and sexy, which is the right look for this picture."
The behind the scenes production team is led by director of photography Pail Cameron, production designer Jeff Mann, and special effects coordinator Mike Meinardis, who all worked on "Gone in Sixty Seconds." The technical aspects here are first rate, the fault lies within the screenplay and, I suppose even Dominic Sena can share some of the blame. Sena starts the movie with a mature attitude and reasonable motives, but he eventually switches the story to auto pilot when car chases, bank robberies, and shoot-outs inhabit the plot instead of wit, edge, and complex, thought-provoking material.
Does "Swordfish" really need its last half to be action-ridded, and laced with double and triple crosses, changes in character motivations, and the stylized violence? Yes, it's well acted and visually enticing, but the movie sets up plot twists for the sole reason to contain plot twists. The film does manage to pull the rug from under us a few startling times, but these turning points do not serve much of a purpose and do not truly reveal anything about the story.
I screened "Swordfish" with a friend, who loved this movie, and he could, for the most part, justify most of his opinions, and challenged my own; he provided logical points of explanation behind his recommendation. But I think he is simply filling in the blanks the movie leaves open. I like a movie that makes you think, and one that leaves a lot to your imagination, but "Swordfish" is entirely based on what we interpret. To draw a solid conclusion from a movie, it needs to give us more than hints and implications. The film makes it very clear we cannot trust it, so why does it leave so much up for us to draw from it. Maybe you will make more out of this production than me. It's an easy movie to enjoy; there are some astonishing special effects. In one car chase scene involving the police and a bus, Gabriel changes his travel plans, and a massive helicopter flies down, attaching itself to the bus, and lifts it away. Wow-we've never seen that before!
The action is constant, often pointless, definitely gratuitous, and breathlessly fun.
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