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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.Then again, the rest of the movie leans heavily on that shtick too, so there's no reason the computer scenes should be any different. The Net (1995)Films about computer use run the risk of being visually dull and predictable, but The Net typifies another problem of the genre: obsolescence. But the weakest pair-off of the lot comes when Owen and Law, unaware of each other's identities, wind up in a "London Sex Anon" chatroom, with Law pretending to be a woman ("blonde. epic tits.") and demanding "sit on my face fuckboy." Director Mike Nichols handles all this with dry comic restraint; both men read and type with silent fixation and casually amused expressions, as if mildly aroused but not wanting to commit to more.Already dated when it was made, this cyber-thriller looks downright hysterical today, as shut-in Sandra Bullock orders pizza and plane tickets through her many computers, using interfaces that were meant to look cutting-edge 12 years ago, and now look as dated as Atari 2600 games. But Nichols cranks Mozart's operatic score up extra-loud, communicating with big explosive booms and crashes all the things the two men aren't about to loosen up enough to express even while alone and anonymous in separate rooms. The Perfect Man (2005)By 2005, the Internet had profoundly affected the way people communicated with the outside world and the way they searched for potential mates.
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.