Hellman is king of anticlimax as climax, and it works every time.
I drastically underrated this on my first watch. In Blackhat, Mann’s archetypal "doomed protagonist" scales up—working alongside governments, traveling internationally, balancing the fates of countless men and women unknown. It is no longer the world of regional crime, but a world of ubiquitous threat, the inscrutable anxieties of modernity.
The dismissal the film has received (and my own lackluster first watch), must have something to do with how enthusiastically Mann employs the language and theatrics of cybercrime. The language of…