Watch Online Blackhat (2015) - MovieTimeUs

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Synopsis:

An American/Chinese joint anti-cybertheft task force races to root out an elusive hacker based in Southeast Asia in this Legendary Pictures thriller written, produced, and directed by Michael Mann, and starring Chris Hemsworth.

Review:

Since the beginning of his career, Michael Mann has been, first and foremost, a stylist. His earliest work (Thief, Manhunter, producing TV's Miami Vice) had such a startlingly unique aesthetic -- a slow-burn pace that paired moody music with lurid colors -- that young filmmakers are still aping it 30 years later (with Nicolas Winding Refn's Drive being one of the most prominent examples). Mann's style evolved in the 21st century as smaller digital cameras allowed him to get even closer to his characters and encouraged him to shoot from unexpected places. His cyber-terrorism thriller Blackhat continues this new visual approach.

Chris Hemsworth stars as Nicholas Hathaway, a world-class hacker who, as the movie opens, is serving a lengthy prison sentence for stealing millions from banks. His old college friend Dawai (Wang Lee Hom), a member of the Chinese military and a tech expert, convinces the U.S. government to let Nicholas out of prison so he can help a small squad of American and Chinese security officials; they need his skills to track down a hacker who caused a lethal accident at a nuclear reactor and made millions artificially manipulating the price of soy futures. If they apprehend their target, Nicholas gets his sentence commuted. Working with him and Dawai are Carol Barrett (Viola Davis), an American who must deal with her boss's distrust of both the Chinese and their ex-con collaborator, and Dawai's sister Lien (Wei Tang), a talented hacker in her own right who quickly falls in love with Nicholas.

Mann wastes no time showing off his latest filmmaking tools. His opening shot tracks inside a computer, flying around the inside of a motherboard and through wires representing the Internet itself, so that we can see the virus planted by the bad guy. There's more novelty to come during the fight scenes, which look like they were recorded with the latest GoPro technology; you've never been this close to a guy getting his face smashed in with a table. Throw in a sickeningly fast and shaky foot chase, and there's enough here for Mann's devoted fans to say that the director is still on the cutting edge.

However, for those who found his last two movies -- Miami Vice and Public Enemies -- overly long and crushingly dull, there's nothing here that will change their minds. It's another exercise in tough-guy posturing that lacks the philosophical depth of his best work: Manhunter, Heat, and The Insider. At best, we marvel at what Mann can do while never being involved in what's happening. The exceptions are a brilliantly directed shoot-out that kicks off the movie's final act, and an utterly unique sequence in which Nicholas must don a hazmat suit and enter the irradiated nuclear plant to retrieve some computer hardware.

Hemsworth makes Nicholas a traditional Mann hero: He's taciturn, emotionally detached, and most importantly, lives by a code. He also gets a handful of snappy, action-hero lines to deliver, courtesy of screenwriter Morgan Davis Foehl. Meanwhile, Viola Davis makes sure we know her character is the toughest in the movie, delivering her dialogue with a cool but impassioned authority that instantly makes her the most likable person onscreen.

The 71-year-old Mann used to be able to imbue genre films with real depth thanks to his painterly frames and intellectual obsessions, but he hasn't been in top form for more than a decade. Blackhat might be his best work since Collateral, but that still doesn't mean it's compelling or interesting.

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Watch Online The Equalizer (2014) - MovieTimeUs

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Denzel Washington is the main reason to see Antoine Fuqua's bold and brutal crime drama, based on the hit but long-forgotten CBS series that ran on the network from '85 to '89, about a former secret agent who dispenses vigilante-type justice on behalf of defenseless, ordinary folks. Washington, who won an Oscar for Fuqua's Training Day, delivers a perfectly modulated, slow-burn performance that lifts this otherwise conventional genre piece into an engaging entertainment that will please the core audience who turned Taken and Liam Neeson's other action-oriented vehicles into global successes.

The movie begins with a quote from Mark Twain: "The two most important days of your life are the day you were born and the day you find out why." Apparently, Washington's Robert McCall was born to not only be a guardian angel for down-on-their-luck good people, but also to unmercifully slaughter bad guys with ordinary objects, from corkscrews to hedge clippers, and take delicious delight in doing so -- as he does repeatedly over the film's two-hour-plus running time.

The story is simple enough. McCall works at Home Mart, a Home Depot-like store in Boston, where he jokes that his previous occupation was as a Pip, one of the backup singers/dancers for soul legend Gladys Knight. He even does a few cool dance moves to better sell the lie to others. But McCall suffers from insomnia, so each night he heads down to a local diner (that looks like it was designed by Edward Hopper) to sip tea and read classic literature. Another early morning regular is Teri (Chloë Grace Moretz), a young prostitute who dreams of becoming a singer. When Teri is roughed up by Slavi, her Russian pimp (Justified's David Meunier), and lands in a hospital, McCall pays him a visit and offers to buy Teri's freedom for 9,800 dollars. Slavi refuses, of course, but soon wishes he had accepted when McCall kills him and a roomful of his cohorts in a brisk 19 seconds. (McCall times everything, from grooming to gutting bad guys.) Unfortunately, Slavi's boss is the head of the Russian mob, and he doesn't appreciate that his illegal business ventures have been interrupted by the deaths. Soon, McCall is the target of a top Russian assassin.

While The Equalizer carries the name of a bygone TV show, its real roots stretch back to such 1970s hits as the Death Wish and Walking Tall movies, in which justice was served with brutal, deadly force. It also plays like a good-old-fashioned shoot-'em-up, in which the audience can't wait until the good guy straps on his gun belt, mounts his horse, and rides into town to dispense with the outlaws. Even the ragged font Fuqua uses for the opening-credits sequence evokes a Western theme.

Yes, The Equalizer is predictable and it gets more ludicrous as it goes along, especially in the final, expertly staged set piece in which McCall turns the Home Mart into a house of horrors for the gangsters. It also defies belief that McCall is never questioned by the police in any of the killings, even though he is on surveillance footage and a coworker eventually witnesses his skill with a nail gun. But there is no arguing that this slick, solidly built action yarn delivers the goods. While it may not be as prestigious as Washington and Fuqua's previous outing, it is equally as entertaining.

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