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More recent films usually have a live person on both ends of a chat-line, both of them reciting whatever they type; War Games instead had a tinned, eerily inhuman computerized voice simulator speaking for the world-threatening mainframe. Attempts to make computer communication exciting and cinematic have gone downhill ever since. Jumpin' Jack Flash (1986)"Computers are not friendly! " A woman's seductive voice echoes everything the website says in print, but the filmmakers mostly avoid having the users respond out loud by limiting their sides of the conversation to brief questions, short and simple enough to be read off the screen.
" Whoopi Goldberg's boss barks at her when she starts actually communicating with her online customers at an international bank. Meanwhile, montages of disturbingly violent, grotesque, and sexual images flicker by at near-subliminal speeds, edgy soundtrack music plays, screams and metallic buzzes echo in the background, the point of view blurs, distorts, and reverses, and in general, the film pulls every J-horror trick under the sun in order to make viewers forget they're looking at people looking at a website. Rick (2003)In adapting Rigoletto for the modern era, director Curtiss Clayton and writer Daniel Handler are kinder than most filmmakers about assuming the audience can read, or that they can get the general idea about the mundane sex chat between "BIGBOSS" (Aaron Stanford) and "VIXXXEN" (Agnes Bruckner) just from context, and don't actually need every steamless line read to them.
This leads him to hypothesize that perhaps Bennett was kicked out of the unit by Matrix, because Matrix discovered that Bennett had become sexually attracted to him; “all he wanted was a little love, and instead he got fired.Most of the movie's key scenes involve Goldberg typing out messages to him in increasingly wacky casual poses—perched on a desk imitating Ray Charles, lying sideways across several desks, presumably just for visual variety—and talking loudly to herself, reading her messages and his, at least until her terminal starts speaking in his voice. Meanwhile, on the other end of the chat session, Clayton keeps his camera swirling rhythmically back and forth in semi-circles around Bruckner and a female friend, who giggle over their end of the chat, talk about other things, and chatter with Pullman on the phone.Given Penny Marshall's extremely basic direction, all the tension relies on the prospect of her contact getting caught, and on Goldberg's up-cuttery, as she does silly voices, makes silly faces, spins around in her chair, sings to herself, and otherwise tries to be wacky yet endearing. Clayton achieves his excitement mostly by contrasting Bruckner's excitement with Stanford's comically blasé amusement, then throwing Pullman's obliviousness to the situation into the mix, all while cutting faster and faster as the scene reaches its—ahem—climax. Closer (2004)In the film adaptation of his stage play Closer, screenwriter Patrick Marber finds ways to bring each possible pairing of his four star-crossed leads—Jude Law, Natalie Portman, Clive Owen, and Julia Roberts—into proximity, sparking sexual and social tension from the way their needs push and pull at each other.But oh, ho ho, is he comedically and ironically wrong! As the two users—the young boss and precocious daughter of smarmy businessman Bill Pullman—talk via a service called "Naughty Chat," the camera stays in close on Stanford as he rubs his hands through his hair, bounces, gasps, pops candy into his mouth, chants "Boom!
Before long, her primitive CRT monitor is displaying a Russian exercise program, then picking up messages from a British intelligence agent trying to escape Eastern Europe with key information. " when he hits "send," and eventually masturbates while frantically typing one-handed.
War Games (1983)The beginning of the personal-computer age brought new convenience and new capabilities, but also a share of new paranoias: fears that technology was moving too fast, that the average user wouldn't be able to keep up with the rapidly changing personal and corporate culture, that untested and possibly flawed machines were rapidly gaining control over people's lives. Voiceovers clue the audience in to what they're typing, from their mutual love of their hometown, New York, to—get this—why men love The Godfather!