His wife Lydia (Hope Davis) tries to speak to him, but his responses are delayed, his attention diverted by the glowing screen.

Moreover, as these characters become more and more affected by their reliance on technology, the moderation of what happens does not spoil the thematic weight by overreaching dramatically.

Their joke on Ben via their false Facebook profile goes too far in such a way that the results eerily mirror recent headlines.

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We these characters; their actions never feel contrived for the sake of grand overemphasis.

When Rubin escalates his visual technique to match the emotional heights on what occurs onscreen, the sequence might be compared to the titular collision from Paul Haggis’ 2004 film used insignificant correlations between characters to bring a sense of meaning to the overwrought melodrama, this film avoids falling into such traps by concentrating on fewer connections and making each one purposeful.

A similar false friendship grows between Cindy (Paula Patton) and her chat room confidant ‘fear&loathing’ (Michael Nyqvist); but all at once Cindy and her husband Derek’s (Alexander Skarsgård) finances have been stolen by an identity thief.

With little legal recourse and bills piling up, they resolve to find the suspect—‘fear&loathing’—themselves and confront him.

That Jason’s distant father (Frank Grillo) drives him to open up online through his concealed conversations with Rich is significant, insomuch that Grillo’s character is also the ex-cyber crimes detective taking cases on the side, Cindy and Derek’s in fact.

Rich, a powerful attorney for Nina’s news corporation, always has an ear or one eye on his cell phone.

As the film’s characters attempt to resolve their conflicts through various-sized keyboards or methods of artificial communication, we can relate to their inability to communicate clearly or meaningfully.

It makes you want to shut down your cell phone and have significant conversations with people again. This is a drama whose turns play out in confrontations and collisions we anticipate, but they’re also rendered with a poetic step back from the kind of operatic tragedy that would make such a tale unbelievable.

Introverted and lonely, Ben Boyd (Jonah Bobo) makes music that no one hears but his few Facebook followers.