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Amid the hoopla of the launch — attended, for some reason, by Jimmy Fallon and Snoop Dogg — Parker told an anecdote about meeting his business partner, Shawn Fanning, 15 years ago in a chat room, saying, “There’s something exciting about bringing spontaneity to the Internet.

All of your interactions online are constrained by the people you already know.” (MORE: Chatroulette 2.0?

" 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.

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!

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Apparently people don’t feel constrained by interacting with the people they know — they feel comforted by it.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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91 Comments

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