Hackers 1995 In Hindil !NEW! [UPDATED]
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Hackers takes place not so terribly long ago, yet for how much has changed since, it may as well be a hundred years old. It is a capsule of a moment in which the Internet was that newborn baby. Unfortunately, we ended up with something like the kid from that episode of "The Twilight Zone" who holds a town hostage with the power of his mind, but in 1995 we only knew that a world-changing door had been opened. People didn't understand enough about the Internet to determine how much of Hackers was real and how much was utter bullshit. Most moviegoers probably didn't buy the cheesy lingo and acid-trip sequences of rainbow math equations floating around people's heads, but who's to say if an eleven-year-old kid could feasibly bring down a major bank from the comfort of his home? A boatload of movies based on this cyberspace premise were released from the late-'80s through the '90s ('95 alone also saw Johnny Mnemonic, Virtuosity, The Net, and Strange Days, not to mention a hacker villain in GoldenEye), and most dealt with the fear inherent in this seemingly all-powerful entity that was a total mystery to the general public.
The plot of Hackers is pretty straightforward. A group of teen 1337 h4x0rz accidentally stumbles onto a plan by a skeevy tech officer calling himself The Plague (Fisher Stevens) to defraud the company he works for. A battle between greed and morality ensues, and of course the fresh-faced young hackers in their punk T-shirts and blinding neon outwit the greasy suit. The specifics, however, are muddled and odd, with troubled loner Dade (Jonny Lee Miller) struggling to fit in with the cool kids at his new school, as well as impress the pants off of Kate (Angelina Jolie). At 11 years old, "Zero Cool" Dade was arrested for crashing the New York Stock Exchange and forbidden from using a computer again until his eighteenth birthday. Now living with his single mom (Alberta Watson), he goes right back to his old ways the second he can legally touch a keyboard, this time under the alias "Crash Override." The film takes him and his emotional struggles seriously and does build a warm dynamic between Dade and his mother, at least, yet it's just plain difficult to shed a tear for someone slinging lame insults over slime-green e-chats. The villain's plan should be simple enough but most of the details whiz by, made almost unintelligible by fantasy techno-lingo that has little basis in reality. All of that awkward character-building and plot confusion and unrealism doesn't quite matter, though. What carries the human scenes isn't a compulsion to know what's going to happen next so much as the enjoyment of watching people hang out. Rounding out the young crew are Joey (Jesse Bradford), Cereal Killer (Matthew Lillard), Nikon (Laurence Mason), and Phreak (Renoly Santiago). These misfits and their bizarre banter are a joy to watch, and the actors' clear dedication to their characters saves an often cringeworthy script. It's remarkably similar to any 1980s high-school hangout flick, with the teens throwing around their alien languages and having fun while pranking the principal and thwarting their parents' attempts at discipline.
Of course, the difference between this and John Hughes is the film's garish psychedelic cyberpunk style. Like Tron before it, Hackers offers a visceral experience, the chance to explore cyberspace from inside it, to drown in chips and wires. The camera dives through circuit boards and terminals; the innards of a computer are depicted as a neon blueprint of a city. Ironically enough, many of these sequences were done with motion-control, models, and traditional animation rather than CGI, as director Iain Softley felt at the time that digital effects were too flat and sterile. Maybe this should have been a hint, a warning to keep our focus on three-dimensional reality as opposed to flat, artificial screens. Or maybe that's accidentally the meta-point: computers feel real. When we use them, we enter another place. To a hacker, it isn't a screen or a sequence of numbers, it's a living environment where robot arms fight over tapes and pixels build worlds. Computers become magical entities, both an extension of the user and a sentient being all their own, a partner and a pet. During the final showdown, the camera pans across the hackers in a row of phone booths, each with their own laptop plugged into dial-up. The screens are logos and smiley faces and skulls reflective of each user, and as they boot up together to take on their foe, the computers read like fellow soldiers.
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