Una unidad secreta llamada Black Cell, liderada por Gabriel Shear, requiere fondos para financiar su guerra contra el terrorismo. Gabriel enlista al hacker convicto Stanley Jobson para que l... Leer todoUna unidad secreta llamada Black Cell, liderada por Gabriel Shear, requiere fondos para financiar su guerra contra el terrorismo. Gabriel enlista al hacker convicto Stanley Jobson para que lo ayude.Una unidad secreta llamada Black Cell, liderada por Gabriel Shear, requiere fondos para financiar su guerra contra el terrorismo. Gabriel enlista al hacker convicto Stanley Jobson para que lo ayude.
- Dirección
- Guionista
- Elenco
- Premios
- 5 premios ganados y 10 nominaciones
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaThomas Jefferson did NOT shoot a man on the White house lawn for treason. This movie is the source of that rumor.
- ErroresIn the film's opening speech, Gabriel Shear discusses Tarde de perros (1975) as being a "1976" work of "fiction" that didn't "push the envelope" and showed Hollywood's "lack of realism." Dog Day Afternoon was a true story, not fiction, depicted realistically. While the film didn't adhere to every detail of the true story, the ending was accurate. It was released in 1975, and the film's action takes place in 1972.
- Citas
[first lines]
Gabriel: You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now I'm not some grungy wannabe filmmaker that's searching for existentialism through a haze of bong smoke or something. No, it's easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as "prose". No, I'm talking about the lack of realism. Realism; not a pervasive element in today's modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino's best work, short of Scarface and Godfather Part 1, of course. Masterpiece of directing, easily Lumet's best. The cinematography, the acting, the screenplay, all top-notch. But... they didn't push the envelope. Now what if in Dog Day, Sonny wanted to get away with it, REALLY wanted to get away with it? What if - now here's the tricky part - what if he started killing hostages right away? No mercy, no quarter. "Meet our demands or the pretty blonde in the bellbottoms gets it the back of the head." Bam, splat! What, still no bus? Come on! How many innocent victims splattered across a window would it take to have the city reverse its policy on hostage situations? And this is 1976; there's no CNN, there's no CNBC, there's no internet! Now fast forward to today, present time, same situation. How quickly would the modern media make a frenzy over this? In a matter of hours, it'd be biggest story from Boston to Budapest! Ten hostages die, twenty, thirty; bam bam, right after another, all caught in high-def, computer-enhanced, color corrected. You can practically taste the brain matter. All for what? A bus, a plane? A couple of million dollars that's federally insured? I don't think so. Just a thought. I mean, it's not within the realm of conventional cinema... but what if?
- Créditos curiososThe last credit reads "Final Password: Vernam", which is part of the website game. (See Trivia). A Vernam cypher is a method of encrypting a message.
- Versiones alternativasAlternate television takes were shot for the scene with Ginger at the pool (she wears a bikini) and where Stanley hacks into the main frame of the Departement of Defense (Helga is not there).
- ConexionesFeatured in Conversations with Jerry Bruckheimer (2000)
- Bandas sonorasDark Machine
Written by Paul Oakenfold and Andy Gray
Performed by Paul Oakenfold and Christopher Young
Courtesy of London-Sire Records
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.
- jwillis81
- 9 jun 2001
Selecciones populares
- How long is Swordfish?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Sitios oficiales
- Idiomas
- También se conoce como
- Swordfish
- Locaciones de filmación
- Ventura, California, Estados Unidos(Location)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 102,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 69,772,969
- Fin de semana de estreno en EE. UU. y Canadá
- USD 18,145,632
- 10 jun 2001
- Total a nivel mundial
- USD 147,080,413
- Tiempo de ejecución1 hora 39 minutos
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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![John Travolta, Don Cheadle, Halle Berry, and Hugh Jackman in Swordfish: Acceso autorizado (2001)](https://m.media-amazon.com/images/M/MV5BNzk5ZmQxMWYtM2QyNi00MTY3LTlmNjItYjUwODY3Y2YwOTIwXkEyXkFqcGdeQXVyNDk3NzU2MTQ@._V1_QL75_UX90_CR0,0,90,133_.jpg)