This was fucking fantastic. Pure Mann kino

This was fucking fantastic. Pure Mann kino.

Why did critics hate it so much?

>REEEEEEEE ACTION HEROES AREN'T SUPPOSED TO ACT MANLY

STOP IT. STOP IT RIGHT FUCKING NOW. YOU ARE NOT GOING TO MEME ANOTHER INDIVIDUAL INTO WATCHING THIS AWFUL AWFUL AWFUL FUCKING FILM.

name one thing wrong with it.

>Mann
>kino

pick one

most of american critics are pleb anyways. Clearly an underrated gem.

>Why did critics hate it so much?

They expected more BANG BANG and BOOM SPLOSIONS, and less dialogue, and plot intricacies.

This movie was shit. I don't even remember details, I just remember not enjoying it at all.

Mann makes right-brained films. Blackhat's most powerful moments are things you feel viscerally, physically, intensely, instead of dryly observing; conversely, even the film's most inconsequential interludes have an undeniable abstract beauty to the framing, lighting, depth of field (or lack thereof) and an opiated isolation-tank hum to the sound design which, above all, seeks total viewer immersion.

The point resides in the startling physicality of an automatic weapon as it fires ceaselessly; in the electric Hong Kong night with its smudges of impressionistic color; in the robotic, rhythmic machine-gun clonk-clonk-clonk of knife repeatedly penetrating flesh and bone which resembles more a swift firing of keystrokes than a life being snuffed out; in the merciless dialectics of the cutting which brings to mind another favorite of Mann's, Battleship Potemkin; in the film's deeply felt picture of life in the 21st century, continued from Miami Vice but even more bleak and nihilistic, in which the modern world is but a cash-operated, ATM-lined Panopticon that is always under surveillance (the jailed Hathaway is introduced reading Baudrillard, with Foucault's Discipline and Punish visible in the background).

Blackhat is a paradox and an enigma; at once the most fully abstracted and "purely" cinematic film Mann has made, as well as an utterly gripping thriller and one of his leanest narratives. Its resolutely non-commercial nature, though, ultimately wins out and has already ensured that most people will find little of value here as long as they continue to search for left-brained stimulation in an essentially experimental film about images and sound, touch and taste and color and rhythm and feeling.

I stopped watching when he became a kung fu expert after he banged the fbi laddy

>the new Antonioni

it is what it is

this a thousand times i didn't even finish it due to the raw unedited digital camera footage

Honestly Mann is one of the best directors alive and Heat is a legit masterpiece. I still haven't seen Blackhat and his first two films. I don't know what I'm in for.

tl;dr

is kino

>tfw the only selfie I have with a director is taken by him

I wish he would get better actors as leads.

Thief is like an American riff on cercle rouge, so if you liked that you'll love it.

Heat is still is masterpiece but The Insider is constantly underrated. It's like people forget that was a film of his. It's literally Top 3.

The only good shot in the film is the mercs moving among the pylons.

Everything else is the same DV cam docu looking shit he's been making for the last 10 years.

it's called digital verité

I ignored The Insider until I realized that it's more relevant than ever.
Pacino's character leaves his job because he believes his ideas as a journalist have been compromised even though they finally aired the interview.
Crazy to think in this day and age with CNN and all.

It is a bland action movie with hackers nothing else

Better question is why the fuck do you like it?

too late, im downloading it

It's a pretty forgettable movie so bear with me.

The forced romance is awful and not developed at all. I think there is a scene where he has to leave and the girl get real sad and dramatic. Yet they've known each other for like two days.

The rest I forgot about since it was generic

Heat is a masterpiece but Mann's specialty is really above average B movies. I say that as a compliment btw, nearly all of his movies are fun to watch

>it's pretty and has gun fights, so it's a masterpiece
>it uses digital in 2015 wow so revolutionary
>low focus and neon lights, top kino

I want vulgar auteurism to leave

this. it was the worst thing about collateral but it's really in overdrive here

>This was fucking fantastic. Pure Mann kino.

I read this in Arnold voice

>Why did (((critics))) hate it so much