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.
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.
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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.
In a typical hilariously awful bit, she and a few other people with garish 16-bit icons chat online about how "No one leaves the house anymore. Leave it to Hollywood to hilariously misunderstand both trends.
The filmmakers are confused about computers too: When Weaver gets a scary e-mail, a cop says the killer "hacked into her e-mail address." But mostly, Copycat manages to make online communication interesting by making it pictorial and visual, with Weaver and her latest serial-killer stalker sending each other spoooky images instead of laboriously typed text. You've Got Mail (1998)Essentially a two-hour commercial for AOL (much like Cast Away, also starring Tom Hanks, would be for Fed Ex two years later), You've Got Mail remade the 1940 Jimmy Stewart film The Shop Around The Corner for the digital age, but instead of paper mail, Hanks and Meg Ryan communicate anonymously via e-mail and "chatting." Instead of the now-traditional close-ups of text on screen, director/screenwriter Nora Ephron mostly sticks to wider shots of the duo typing from their respective kick-ass apartments.
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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!