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Stanley: It's not gonna end like this.
Gabriel: Oh, come on, Stan. Not everything ends the way you think it should. Besides, audiences love happy endings.
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Gabriel: Have you ever heard of Harry Houdini? Well he wasn't like today's magicians who are only interested in television ratings. He was an artist. He could make an elephant disappear in the middle of a theater filled with people, and do you know how he did that? Misdirection.
Stanley: What the *snip* are you talking about?
Gabriel: Misdirection. What the eyes see and the ears hear, the mind believes.
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Gabriel: You know what the problem with Hollywood is? They make #. Unbelievable, unremarkable #. Now I'm not some grungy wannabe filmmaker that's searching for existentialism through a haze of bong smoke or something. No, it's easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as "prose". No, I'm talking about the lack of realism. Realism; not a pervasive element in today's modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino's best work, short of Scarface and Godfather Part 1, of course. Masterpiece of directing, easily Lumet's best. The cinematography, the acting, the screenplay, all top-notch. But... they didn't push the envelope. Now what if in Dog Day, Sonny REALLY wanted to get away with it? What if - now here's the tricky part - what if he started killing hostages right away? No mercy, no quarter. "Meet our demands or the pretty blonde in the bellbottoms gets it the back of the head." Bam, splat! What, still no bus? Come on! How many innocent victims splattered across a window would it take to have the city reverse its policy on hostage situations? And this is 1976; there's no CNN, there's no CNBC, there's no internet! Now fast forward to today, present time, same situation. How quickly would the modern media make a frenzy over this? In a matter of hours, it'd be biggest story from Boston to Budapest! Ten hostages die, twenty, thirty; bam bam, right after another, all caught in high-def, computer-enhanced, color corrected. You can practically taste the brain matter. All for what? A bus, a plane? A couple of million dollars that's federally insured? I don't think so. Just a thought. I mean, it's not within the realm of conventional cinema... but what if?
That's where Stanley Jobson (HUGH JACKMAN) enters the picture. One of the two best hackers on the planet, Stanley has been forbidden to get within 50 yards of the nearest electronics store after doing time for wreaking havoc on the FBI's controversial high-tech cyber surveillance operations. Now Stanley is living out his life in a broken-down trailer, penniless, alone and without the one thing that gives his life meaning - his daughter Holly, whom he lost in a divorce. Gabriel and his beautiful partner Ginger (HALLE BERRY) lure Stanley into their clandestine world, baiting him with the one thing he can't have - a chance to reunite with Holly and start a new life. But once Stanley enters their world, he realizes that nothing in this operation is what it seems and he has become a pawn in a plot that's a lot more sinister than a high-tech bank heist.