Chatroom was billed as a horror film in the way it was sold but only sits on the genre borderline at best one suspects more due to Hideo Nakatas horror associations than anything else. The script is interesting and often challenging like having one character (Daniel Kaluuya) who admits to sexual impulses for an eleven year-old girl, who is also not immediately demonised but continues to be treated sympathetically throughout the rest of the story (even if the film never particularly addresses the wider moral/psychological angles of his desires).
Anybody making a film about internet chat and/or communication is stuck with a difficult problem how to make such an inherently uncinematic idea as two strangers sitting apart typing at keyboards, not relating to one another but to words on a screen, into something dramatically exciting. Most films try to compensate by having the characters read what they are typing aloud see Youve Got Mail (1998) or by printing the words in about 24 point font so that they are easily readable but this still fails to approximate what chat involves on an emotional/psychological level. What I was most impressed about with Chatroom was its finding a unique means of visually depicting its subject matter. Hideo Nakata (and Enda Walsh who wrote the original 2005 play the film is based on) solves the problem with the device of having the actors sitting in an empty room that acts as a visual metaphor for the chatroom where they deliver their lines as though they were normal speech.
The opening scenes hold something dazzling in terms of this determination to give a visual metaphor to internet activity showing Aaron Johnson navigating a hotel hallway that contains a throng of partying people before he finds an empty room and sets up there, which we realise is him surfing a swarm of net activity to set up a domain for his chatroom. Chatroom becomes even more striking when Hideo Nakata tries to visualise other familiar features of internet communications and chat like the paedophile that tries to enter the chatroom and keeps flickering back and forward between being a teenage girl and a middle-aged man after Aaron Johnson exposes him. Also striking is the abrupt contrasts made between the characters inside the chatroom and their mundane real-world selves outside Aaron Johnson sitting in his room, Matthew Beard in an outdoor cafe, Hannah Murray logging in by cellphone while bored in class.
In all ways, Chatroom is the superior of Hideo Nakatas English-language films. Nakatas visuals are tight and expert, while the film is greatly aided by a dense techno soundscape. Unlike The Ring Two, he shows an assurance both with the visual storytelling and handling an English-language cast. It is only during the last section that Chatroom does not fully work. Throughout, the film builds Aaron Johnson up as a machiavellian character who is pushing and manipulating the others. We get glimpses of the troubles in his life but are never given any clear reasons why he is doing any of this. The story fragments off towards the end where you have the feeling that Enda Walsh has quickly brought it to a standard psycho movie conclusion with guns, dramatic rescues and a traditional villains comeuppance rather than playing out the various psychological tensions.
The star of the show is young British actor Aaron Johnson who came to public attention the same year as the title character in Kick-Ass (2010). While elsewhere Johnson has been cast as a standard teenage lead, here he plays with a dazzlingly troubled and mercurial depth. It is a role where Aaron Johnson clearly establishes himself as an actor who has a considerable range and long-term staying power. There are good and strong performances elsewhere, especially from Matthew Beard as the shy and introverted Jim.
Hideo Nakatas other genre films include:- the ghost story Dont Look Up (1996); Ring (1998) and its sequel Ring 2 (1999); the ghost story Dark Water (2002); the English-language The Ring Two; the ghost story Kaidan (2007); the Death Note spinoff L: Change the World (2008); Incite Mill (2010) about a reality tv elimination game; the ghost story The Complex (2013); Monsterz (2014) about a man with mind-control abilities; and Ghost Theatre (2015).