There exists a world within our world. A world beneath what we call cyberspace. A world protected by firewalls, passwords and the most advanced security systems. In this world we hide our deepest secrets, our most incriminating information, and of course, a whole lot of money. This is the world of "Swordfish." The world's most dangerous spy is hired by the CIA to coerce a computer hacker recently released from prison to help steal $6 billion in unused government funds.

Filmed in Oregon and California from September 18 - December 15, 2000. When it came to creating the overall look of the film, director Dominic Sena wanted to give Gabriel's world a high sheen of glamour, while not being afraid of color. He explains, "Each location had a color palette assigned to it and the practical lighting dictated the light we would use on the actors. For instance, if there was a green lantern, the light on the faces would be green instead of trying to create perfect flesh tones. It looks glossy and sexy, which is the right look for this picture."

Andrew Collins, Radio Times:
"This glossy, expensive computer-heist thriller amounts to very little behind all the fireworks. If you've seen the trailer, you've seen the film, as it shows part of what industry types call the 'money shot' - a technically brilliant 360-degree explosion that director Dominic Sena obviously saw as his calling card."

Stephen Holden, NY Times:
"With its blasé blend of bogus international intrigue and action-for-action's-sake, 'Swordfish' suggests a James Bond movie stripped of humor. True, there are a few moments of wit, like the opening sequence. But the dominant tone masquerading as humor is a snide, rancid nihilism devoid of laughs, unless wholesale destruction and gloating stupidity are what tickle your funny bone."

Kimberley Jones, Austin Chronicle:
"'Swordfish' has got bombs, bombs, and more bombs, plus car chases, a passel of TNT-strapped hostages, even a school bus airlifted a hundred feet up by a helicopter. The action is constant, often pointless, definitely gratuitous, and breathlessly fun. As far as the pissing contest goes, well, 'Swordfish' could write its name in the snow and have ink to spare … and that's probably a pretty good metaphor for how adolescently dumb/fun this picture is."

Paul Clinton, CNN:
"Here are some things you probably know about 'Swordfish': It features some wildly exciting action sequences. John Travolta is not wearing dreadlocks or platform boots. Yes, Halle Berry goes topless - and so does Hugh Jackman. There's a nice twist at the end of the film. And here are some things that you probably should know: 'Swordfish" is idiotic. Travolta is sporting the same haircut he wore in 'Pulp Fiction'. He's also playing the same standard-issue bad guy he played in two films directed by John Woo. And by the time this train wreck of a film is over, you don't care about the twist at the end."

Jeff Vice, Deseret News:
"Suffice to say that 'Swordfish' is not nearly as clever as it seems to think it is, while director Dominic Sena deliberately swipes bits from better movies, and the overly busy, jittery camera seems to suggest that it was performed by an overcaffeinated Chihuahua."

Michael Dequina, The Movie Report:
"'Swordfish' practically invites criticism by beginning with Gabriel directly saying to the camera, 'You know what the problem with Hollywood is? It makes shit.' I wouldn't go so far as to call 'Swordfish' shit, but it certainly is junk in a nice, glossy package, and doesn't pretend to be otherwise. While embracing and celebrating its lowest-common-denominator aspirations make the film a refreshingly unpretentious and modestly diverting film, it doesn't make it a good one."

Neil Smith, BBC:
"The insanely convoluted plot - which involves Halle Berry baring her breasts as Shear's seductive associate and Vinnie Jones as the least menacing heavy in living memory - has little function beyond providing a framework for some well-staged shoot-'em-ups and an elaborate finale that finds Travolta, Jackman, and a dozen or so hostages in a bus."

David Ansen, Newsweek:
"Two things earned the applause of the preview audience at 'Swordfish': the explosions and the sight of Halle Berry's breasts, which make a notable if utterly gratuitous appearance midway through the story.'

Film critic Emmanuel Levy:
"Ultimately, it’s the slick technical credits that put 'Swordfish' over, particularly Paul Cameron’s widescreen lensing that shows improvement from previous efforts, and gives the film an excitingly energetic look that compensates for its shortcomings."