I’ve seen two iconic “hacksploitation” flicks in as many weeks: Hackers and WarGames. Whether they deserve to be or not, these two somehow managed to end up the representatives of the genre for the 1990s and 1980s, respectively. I will now load my taste module and tell you what I think of them.
Alright, I don’t really ask Roger Ebert’s opinion on everything, I just wanted to point out that this is one of those he got more or less right. I would’ve given Hackers a lower rating than 3 stars myself, but Ebert redeems himself yet again another time already by recognizing WarGames for the classic it is. It gets a well-deserved 4 stars, and more importantly, he “gets” that it’s superior to its 1990s counterpart.
Why?
That’s actually something of an interesting question. There’s a lesson here for how to make movies - indeed, how to tell stories in general - that needs pointing out. When I was brainstorming about this myself, the answer I kept coming back to was that WarGames is just “more real” than Hackers. But obviously that’s absurd. Hackers, for all its many flaws, actually has something like a realistic plot. Trying to show off to his hacker friends, a kid hacks an oil company and does a half-assed job of it, getting caught. Normally the company would let it go, but unfortunately the security expert who catches him has been indulging in some salami slicing, and the kid just happened to have downloaded an incriminating file. So rather than take the fall himself, the security expert decides to frame the kid, and the rest of the story is, in addition to being about a rivalry between two hackers, largely about trying to put the blame back where it belongs. I mean, when you really step back and think about it, this is not only “realistic,” it’s probably actually happened not once but several times. Some security experts estimate that salami slicing happens all the goddamn time without ever coming to anyone’s attention. And what criminal won’t frame an amateur if he thinks doing so will get him off the hook? Hacking rivalries, for their part, are real and common. So what’s not to like? Contrast this with WarGames - where we have at the center of the plot an AI so advanced that it isn’t even on the horizon now, let alone 25 years ago when the movie came out. Not to mention - there are a host of glaring continuity errors. Joshua, for example, speaks in the same voice at NORAD that “he” does through David’s terminal, even though David himself tells us that the computer isn’t “really” talking, it’s just being modulated by his own voice synthesizing system. Since that system either doesn’t exist or would be different at NORAD, this seems hugely unlikely. And then there’s the bit about the computer going straight from Tic-Tac-Toe to “Global Thermonuclear War” when “learning” that you can’t win any games. How? No one told it to play “Global Thermonuclear War” with “number of players zero,” or to play any games other than Tic-Tac-Toe, for that matter. And while we can believe that a computer can run through all the possibilities of Tic-Tac-Toe in a matter of seconds, there’s simply no way it can do the same for “Global Thermonuclear War.” There are way too many variables. Chess alone (one of the games Joshua “skipped”) has 10120 or so possible games - it’s a good bet that “Global Thermonuclear War” has many more. Anyone honestly think a computer can go through all of them in about a minute? More to the point, if we granted that it could, then the story itself is implausible. Joshua/WOPR’s full-time job, after all, it to do exactly that. If it had been doing its job, it would’ve reached this conclusion a long time before David Lightman hacked it.
Alright, so Hackers is technically more “real” than WarGames. Why does it seem the other way around?
That’s today’s big lesson in fiction writing, kids. It’s not enough to tell a convincing story; half of the craft is in selling it. I’m reminded of the part in Stranger in a Strange Land where Michael Valentine Smith is trying to earn a living as a magician and doing a poor job at it. Which is ironic, since as a telekinetic from Mars with spatial awareness of more than just our three dimensions, Mike actually can make things disappear for real. And yet he doesn’t really impress the crowd. I always thought this was one of Heinlein’s more convincing bits of insight. Magic is only 40% about having clever tricks: the other 60% is all in the show. Cleverness is important, but showmanship counts for more. So it is with movies too, apparently.
And dear ol’ Roger Ebert seems to pick up on this too. Here are some choice quotes from his reviews for each movie.
For Hackers:
The movie is well directed, written and acted, and while it is no doubt true that in real life no hacker could do what the characters in this movie do, it is no doubt equally true that what hackers can do would not make a very entertaining movie.
In other words, Ebert isn’t convinced, but then, he argues, he doesn’t hafta be. The classic defense: “just tell me a good story!”
Interesting, then, what he says about WarGames:
The movie, however, could easily go wrong by bogging us down in impenetrable computerese, or by ignoring the technical details altogether and giving us a “Fail Safe” retread. “WarGames” makes neither mistake. It convinces us that it knows computers, and it makes its knowledge into an amazingly entertaining thriller. (Note I do not claim the movie is accurate about computers — only convincing.)
HA! What a nice way to put it. It’s not just that WarGames fails to be accurate. It’s way beyond that, actually. So isn’t it interesting that it nevertheless manages to be convincing? How?
Well, that’s the magic, of course. If we knew the answer, then presumably someone could write a “Scriptwriting for Dummies” book that would actually work and save us from all Hollywood’s tripe. I don’t know the full answer; I don’t think anyone does. But here are some things that occur to me in this context anyway. So here goes - some tips on how to make a hacksploitation flick and get it right.
(1) Show us a hack that isn’t magic. It’s worth noting, I think, that the only hack the audience can follow in Hackers is the social engineering hack that gets our hero into the cable company early on. He tricks a hapless hourly into giving him the number on a crucial modem. From there on, of course, it’s all black magic. YAAAWWWWNNN. There’s really nothing clever to see here. The “fraud” technique used is as old as the hills. If we were pulling this same trick before the computer age, the method would hardly change. We’d still need to mysteriously know enough about the company’s organization to know exactly which dude to call, we’d still need him to be naive, only back in the good ol’ days instead of ordering the computer to play us the video we want, we’d just have to fake some instructions from upper management. Big deal. Contrast this with the big hack in WarGames. In WarGames, David Lightman programs his computer to call every number in Sunnyvale and remember which ones answer with a computer tone. Not only is it within even the most computer illiterate’s grasp to understand how this might work, it’s a clever sort of solution that you can only do with a computer. Unlike Dade in Hackers, who is playing an old prank with a new tool, David’s playing a prank that wasn’t even possible before home computers. That’s crucial. More to the point, though, WarGames is light on “black box” hacks. In Hackers, we see a lot of people typing at a lot of keyboards and things happening as a result, but the mechanisms are all mysterious. We just have to trust that these people can do the things they can do, and that wears thin after a while. It’s like showing a wizard’s duel and asking us to understand when the characters start to run out of magic. Hard to relate, since none of US can cast spells and have no frame of reference for what’s “tiring” and not here. WarGames never strays from the path on this one. Yeah, sure, we can’t exactly see David’s (BASIC? *snicker*) code, but nothing that he does requires all that much suspension of disbelief. Logging in to the school’s computer to change his grades given the week’s password? Check. Dialing every number in Sunnyvale to find Protovision? Don’t know how he did it, but the point is I believe he could. And from there it’s really out of his hands. There’s no false tension built up by asking us to watch a duel in a medium we do not and CAN NOT have any familiarity with.
(2) Real characters. I would guess that Hackers‘ biggest downfall in the computer believability department probably has little to do with actual computers at all. It’s just that these kids are all obnoxious, unlikeable, and - fair or foul - just don’t really jive with our stereotypes of what hackers are like. They come across as ravers who happen to have hobbies in computers. Everything about them is so over-the-top that it’s hard to shake the impression that the moviemakers are trying to hedge the inevitable “not realistic!” criticism from real-life hackers by hanging flashing neon signs everywhere that say “this isn’t really happening!” Contrast that with David Lightman. There’s a great scene where the FBI agent is talking about how Lightman “fits the profile” for espionage. He’s “intelligent, an underachiever, a loner, bad grades in school.” Heh. Now THAT’s a hacker! Espionage isn’t the only profile that fits. And the people making the movie know that, obviously, which is why they included that line at all. More importantly, the romantic tension between David and Jennifer works as well. David’s outside the normal jock dating rituals, not a very masculine guy. Girls aren’t a priority for him because they can’t be. So what kind of girl does such a guy get? Exactly the kind of girl that Jennifer is, obviously. Shy guys need the girl to sorta make the first move, and Jennifer is that girl for guys like David. She’s popular, probably, but seems likely to be bored with her normal options. She can party with the party crowd if she wants to, but sex isn’t really her thing, and she’d like someone with a bit more depth that she won’t have to share with everyone else. It works. So what is going on in Hackers? Despite what Ebert seems to think, cliche city, actually. It’s the standard story about a guy who gets a bit intimidated by a girl who might just be better than him at “his thing.” She’s aloof, untouchable, he bides his time, make his move by showing her up at her own game and … YAWWWNNN. Yeah, got it. This is the romantic subplot of every *sploitation movie on the market. But even more important, I think, are the background characters. In WarGames, aside from possibly David’s parents, everyone seems like a real human. They’re neither good nor bad, really, they’re just sorta pluggin along doing their thing. The debate between Mr. McKitrick and General Barringer about whether to completely automate the missile launch procedure is intriguing because we don’t really know which side is right - both men make good points. And as for Stephen Falken, he has the right idea about war, but the wrong solution to the problem. It’s a believable position for a brilliant researcher out of the 60s who’s lost his son to take, and demonstrating why it’s wrong serves a real thematic purpose in the movie. But in Hackers? Everyone is an annoying cartoon. The oil execs are conveniently hapless, the cyber criminal is conveniently a prick, the FBI guy might as well have “Moral Majority Certified Witch Hunter” stamped on his forehead, the group of hackers all act like bad high school stoner stereotypes, and so on and so on. The only bit of character innovation we really get is that there’s a Puerto Rican in this movie. Way to go out on a limb, there, guys.
Graphical Restraint. Hackers really pulls out the stops on the computer imagery stuff. If it doens’t exactly take it up to 11 like The Matrix did, it still gets a comfortable 10. There’s too much neon and techno dayglo, and it only takes the average viewer about 20seconds to get really sick of it. In fact, in my case, I can honestly say it’s the biggest barrier to my ever seeing this film again, superficial though that may sound (and be). I don’t like the style, and I can’t get away from it. So Done. WarGames looks like real life for the most part. Aside from the scenes at NORAD headquarters, there isn’t really anything in the movie that looks too technological. David’s computer equipment was dated even when the movie came out, and in any case we don’t get to see too much of it. This is a movie about the computer age, to be sure, but it mercifully doesn’t feel the need to make a fetish out of it. Unlike in Hackers, all the images we see in WarGames are things we’ve either seen before or can easily extrapolate from things we’ve seen before. There are no endless lines of purple code scrolling implausibly quickly across people’s faces.
Well, that’s my stab at it, anyway.
To be perfectly honest, I liked Hackers a wee bit better than I’m letting on here. Yeah, the romantic rivalry thing between the two main characters was cliched and irritating, and I really wanted the movie about computer culture they advertised rather than the one about rave culture I got instead. But it’s not as bad as it might have been. The central villain is interesting for being not too different from the kids we’re supposed to take as the “good guys,” which casts the whole story in a nice amoral light. Our villain isn’t doing anything these kids won’t try themselves someday - he’s only “bad” because circumstances have forced him to pick on their friend. Something to think about. Also, however unconvincing the final product turned out, it’s clear that they hired some real hackers for background research. I appreciated that the Dragon Book made an appearance, for example, and with the right cover and everything! And OK, the reference to RISC architecture was dopey, but hey, I’m pretty sure the scriptwriter doesn’t know how to fix that! Most importantly, I appreciated the general lack of sex. To the extent these characters do it at all, it’s for fun and not really an obsession of theirs. If this movie got nothing else about hacker culture right, at least it stayed true to that one. It isn’t that hackers are asexual people, but they’re certainly less obsessed with sex than the general population, and it’s nice to see that come across in a teen movie. WarGames did it better, of course, but then, WarGames did everything better.
So I’ll see Ebert’s three stars and raise him negative half a star. Hackers wasn’t good, but neither was it terrible. Tone the graphics (and wardrobe) down a bit and I might waste another two hours on it someday.
Which still gives it nothing on WarGames, of course. I’ll be watching that movie again and again till the Singularity.