This is essentially a cinematography, and imagery, appreciation post. I’m going to be verging on pretentious here, but I like to have fun and indulge now and then. This will be pure, gushing praise. I love this movie, and its images. You’ve been warned.
Blackhat is perhaps the perfect marriage of subject matter and Michael Mann’s humanistic style, replete with the same obsession with professionalism that runs through all of his films. He takes an occasionally stodgy script and turns it into a visceral experience immediacy – the moment. He’s decidedly old school in his romanticism, and I love him for it. Blackhat, through its striking images, looks at a world of vast interconnectedness that is subsequently full of disconnect (the villain is far, far away from his victims) and places an emphasis on physical, human connection. It’s absurd, but what Mann film isn’t. It is a breathtaking collection of soulful images – characters dwarfed by architecture, characters juxtaposed with digital imagery, Mann’s use of space, and the Wong Kar-Wai sensibilities to some of the more tender images make them both subtle, and powerful. I have repeated myself a bit, but if interested you can read my original review here.
Some spoilers in these images. You’ve been warned, again. Enjoy!
Director of Photography: Stuart Dryburgh