Operation Swordfish: Hugh Jackman in a beautiful peak of old-fashioned 2000s

Some remember it for its introductory scene and spectacular slow-motion blast, others for Halle Berry and Hugh Jackman or John Travolta’s questionable facial hair, and a few perhaps for its action sequences. On the other hand, no one will boast Operation Swordfish for the treatment of its female characters, the realism of its scenario or even the staging, which oozes the 2000s with each shot.

Between narrative approximations, filthy vulgarity and deceptively complex, but really stupid computer jargon, the feature film directed by Dominic Sena was already out of date when it was released in 2001 and each viewing plunges it a little more into the meanders of ridicule and bad taste.

Oh no, they will talk about us again


After realizing California and 60 seconds flat, the failed precursor of Fast & Furious already well gratinated, Dominic Sena left Jerry Bruckheimer for the other side of the Hollywood action blockbuster, Joel Silver, producer of cult films of the genre like the incredible Commando, The lethal Weapon, Predator, Crystal trap, Demolition Man or Matrix, but also several failures like Off-limits, Romeo must die Where Donjons & Dragons.

Despite the losses of 60 seconds flat, the film with Nicolas Cage and Angelina Jolie still allowed the director to be noticed by the studios and to receive several scripts, including a certain Operation Swordfish, the only one that piqued his interest, even more knowing that John Travolta had already been approached. The actor, who had turned down the role of Gabriel Shear six times, was finally convinced by Dominic Sena and the opening scene, which he adored. What could be more logical.

After the enormous critical and financial failure of Battlefield Earth – Earth, Battlefield (which he also produced) and The right number, the actor on the downward slope for a few years was probably keen to release a monologue in front of the camera on a certain Hollywood cinema which only produces “shit”.

Between the ugly cinephile he embodies in Get Shorty, a parody of his Castor Troy and a European cousin of Vincent Vega with a hairstyle as dubious as his goatee or his costumes, John Travolta quibbles about realism in the movies, taking A doggy afternoon for example.

Article: Soure