A Rede

This was made in 1994-1995 at the beginning of the internet craze and the dot-com bubble, and this movie was wholly appropriate for the time era considering many people were just starting to get on the internet at this time. There are a lot of flaws in this film I agree, which is why I have rated it a 6, but my main complaint here is some of the reviewers on this site. Granted this movie was made at the beginning of the internet era, but some people on here make it sound like 1995 was back in the "horse and buggy" days. Either they were born after 1990 and don't remember a time without the internet or they are old as heck and were finally dragged down to the computer store just recently by their kids to get their very first computer.

I'm sad to see this movie has a relatively low rating. It isn't a perfect 10 but it's a very decent and enjoyable yarn. Get over the fact that it portrays a romanticised version of the internet that never existed - this was made a few years before it became commercially viable, so the majority of people didn't know a thing about it or what it looked like. Ignore this and you have a decent conspiracy thriller. Plus, the portrayal of the internet is infinitely more realistic than its cartoonish contemporary 'Hackers', which came out the same year. The tech isn't the star of the show here, and it doesn't rely on spectacle.

This is one of those movies I loved as a kid. I gave it another watch now that it's on Netflix but sadly didn't live up to my memory. The movie has an interesting premise, especially for 1995: everything we do or own is just data on a computer. What if someone decides to change all that? It's a cool idea but it's not executed well with very little excitement.

Still, some things I learned:

• You could order a pizza on the net in '95
• You could already book a plane
• You only had a fancy BMW if it had a carphone
• She's using an Apple, I should have bought apple shares in '95
• Sandra Bullock was really hot in '95. Probably the main reason I loved it as an adolescent

Odd the way technology works. Less than a decade ago, there was this completely different technological world, a world of pagers, floppy disks, dial-up modems (which are as obsolete as typewriters), and gigantic brick-like cell phones. I remember being amazed at that little tiny flap at the bottom of the phone, as thin as a credit card and yet able to pick up your voice and transmit it through the air. Now it's a feature so obsolete that it may as well never have been there. Sandra Bullock plays Angela Bennett, a lonely computer analyst who is so connected to her computer that she sits on the beach in Mexico, on her first vacation in six years, with her laptop on her lap. It's not only like a source of nourishment but her connection to the world and the establishment and maintenance of her identity.

This is where her problems begin. Like The Manchurian Candidate back in the 1960s (and again in less than a week from this writing), The Net plays on the popular fears of the society in which it is released. The Manchurian Candidate originally played off the fears instilled in people by the recently ended Cold War, while The Net, a much less potent thriller, suggests the scary possibilities of a world in which we are so inextricably connected to computers. Probably the most interesting thing in the movie now is the computers, such as the massive laptops with the tiny screens, the indispensable floppy disks which are now almost nonexistent, the graphics, etc.

Angela Bennett has had her digital identity stolen and replaced with that of Ruth Marx, who has a lengthy police record and who thus takes over Angela's identity. It's pretty clever, I suppose, the way the movie presents Angela as though she hasn't left her apartment in six years and with a mother suffering from Alzheimer's (and thus not able to help identify the real Angela later), but it's pretty hard to believe that not a single person in the office where she worked noticed that Angela started being a completely different person. She had no significant other, was not dating, and no parents who could identify her, but was she such a recluse that even the people in the office she worked in didn't even know what she looked like?

At any rate, the plot of the movie is pretty smartly created, although it is created as though it were an excuse for a lot of chase scenes, one of which takes place on a merry-go-round in a great homage to Hitchcock's Strangers On A Train, one of the many classic films to which the movie alludes, several of them other Hitchcock films. Bennett has been given a disk which contains a website, I suppose, which turns out to contain a weakness in a security system about to be set up to protect everything from banks to Wall Street to the CIA. By holding down Control and Shift and clicking on the little Pi icon in the corner of the screen, you are transported from a ludicrous page about Mozart's Ghost, apparently a god-awful metal band, and into highly classified government documents. The disk provides the bad guys with a reason to want to capture Bennett, and thus you have a movie.

Angela goes from a comfortable but bored computer analyst, doing a lot of her work from home and ordering pizza on the Internet at the end of the day (presumably one of the future possibilities of the internet which never came to exist), to a wanted fugitive, ultimately caught and put into a jail cell for someone else's crimes. She has lost her home, her job, her identity, her life. Bullock actually puts in a pretty good performance in the movie. I'm not a huge fan, but I appreciated the realness that her character had, since she is not an over the top actor, her characters are generally very real because she is as well.

Where the movie trips up is that it tries to suggest that such identity theft could happen to anyone in our technological age, but given the effort put into presenting Angela as someone with no personal contacts with just about anyone, really it could only happen to someone like Angela, and are there really that many people that no one can identify by looks? Even the guy at the local video store might recognize her as the lady who rents under her account. Oh well. There's also a glitch in the end of the movie that Mick LaSalle points out and that only people familiar with San Francisco, where the climax of the film takes place, will notice. As Angela rushes through a Macintosh exhibition at the real Moscone Center, she desperately tries to copy all the computer files before the bad guys get her. Pretty tense, but if she had been smart, she could have gone to The San Francisco Chronicle office, which is a block down the street from the Moscone Center.

But hey, maybe the Chronicle doesn't have high enough walkways out back.

Nostalgia may play a large part of my positive feelings towards this film as I watched it repeatedly on video with my younger sister as a teen. Back then "the net" was a new and largely undiscovered frontier, and this film romanticized hackers and the seemingly mysterious world wide web.

I would liken this to a less ambitious version of 'The Fugitive', a film that released two years prior (and by most accounts a superior thriller). Much of what happens in the course of this film is standard fare, but it is presented with a semblance of realism and never seems to hit any lulls or real snags in rhythm despite the frenetic pacing. The plot isn't entirely plausible or devoid of clichés, but it remains interesting from start to finish, and Bullock carries the role well.

There are scattered scenes that show astute directing on the part of Irwin Winkler, though some of the secondary characters give uneven performances. However, Bullock does an admirable service at depicting a frumpy insular woman uncomfortable with her own sexuality and outer beauty. Her character is both resourceful and vulnerable at once, and it's a fresh pace to see a female lead with some layers to peel back in a genre dominated by men. Dennis Miller is very likable in his role, and ably acts the part with a more downplayed version of his real life persona. He was my favorite character by far and brought a lot of warmth to the role.

I'm usually very critical of any movies I see, and am generally turned off by standard Hollywood fodder, but there is a certain charm to 'The Net' that I can't deny. I liked it in '95, and I like it again almost twenty years later. Like visiting an old friend, there's a familiarity to it that is so hopelessly 90's and so reminiscent of a bygone era--the inception of the internet age--that it carries a certain weight to me unmatched by the multitude of forgettable popcorn thrillers of the decade.