Review of Disconnect

Chances are you're reading this review from a Facebook link on your mobile phone, tablet, or computer, and you're probably connected to at least three other activities while doing so. That statement may not mean much as written, but see this movie and you'll understand the significance. Disconnect is documentary filmmaker Henry Alex Rubin's fictional movie debut, and what an announcement to the world it is. Expertly weaving three tales of social dysfunction into a compulsively watchable whole, Rubin's film is a powerful meditation on all of the darker aspects of electronic communication and how what we gain in convenience, we lose exponentially in humanity. It's safe to say this is a movie both defined by and about our Digitial Age.

As the film begins, we're introduced to Kyle (Max Theriot), an 18-year-old runaway who performs sexual acts on his webcam for money. He lives in a house with several other teenage performers under the supervision of Harvey (Marc Jacobs), who runs the operation. But when local TV reporter Nina Dunham (Andrea Riseborough) visits the web site not for a little naughty fun but for a serious investigative piece on the sex cam industry, Kyle is understandably taken aback. He eventually agrees to an interview (with his face in shadow and his voice altered), but when the piece airs and the FBI swoops in, Nina is forced to confront the question of who is really exploiting whom.

Meanwhile, in a story that would certainly give Manti Te'o pause, high school outcast Ben Boyd (Jonah Bobo) becomes the victim of a prank played by bullies Jason (Colin Ford) and Frye (Aviad Bernstein). Posing online as a fictional girl named Jessica Rhony, they pretend to be interested in Ben and strike a meaningful connection with him. When Ben takes the bait, Jason and Frye go for the kill by sending a random naked picture and challenging him to reciprocate. They're delightfully surprised when he does, and they mass-mail Ben's naked photo all over school. The rest of this story focuses on Ben's parents, Rich (Jason Bateman) and Lydia (Hope Davis) as well as his sister, Abby (Haley Ramm) as they grieve over Ben's situation. Rich obsessively carries out an investigation, chatting with Jason (still posing as Jessica) over Facebook while hoping to uncover information. Both characters feel great remorse, Jason for a prank gone terribly awry, and Rich for failing to connect with his own son before it's too late.

Finally, we're introduced to Derek and Cindy Hull (Alexander Skarsgard and Paula Patton), who are both struggling to cope with the death of their infant son. His haven is online gambling, while hers is a chat support group, where she confides in an online "friend" (dealing with similar tragedy-- the passing of his wife) on how she cannot communicate with him effectively anymore. When the Hulls' identities are stolen, they hire detective Mike Dixon (Frank Grillo) to locate the fraudster. He is successful in doing so, but without concrete proof, he cannot act. The Hulls decide to take matters into their own hands by driving to the perpetrator's address and confronting him.

The danger and impersonal nature of online communication lies at the heart of Disconnect, and it hovers ominously while the interpersonal drama plays out. All three of these stories are easy to connect with and evoke powerful emotions, but there's no working around the fact that had this movie been set a mere 20 years earlier, none of this would've happened. The strongest of the stories is unquestionably the one about cyber-bullying. It is steeped in the darkest of irony; it takes an online prank gone wrong for a bully to come to grips with the horror of his actions and an otherwise honorable father to realize he has failed in ways he was utterly oblivious to. Without Facebook and all its alluring conveniences, could the Boyds be a healthier, more communicative family unit? The film, while not demonizing social media, seems to argue "yes."

Nina and Kyle's tale initially focuses on the sex cam industry before ultimately delving into the responsibilities of a reporter with regards to protecting her sources. Suffice it to say that this journalism major was riveted by this story, which asks all the tough questions one expects. Underage pornography is a crime, but Kyle is provided with everything he needs and is never mistreated by his superiors. Nina rightfully asks him what his future holds when he becomes "too old" to draw in as many customers, but once again, a breakdown in communication occurs between these two when it comes to addressing what each party's true motives are. And is the media ultimately just as exploitative? Thankfully, Disconnect is fearless in raising these issues and having the guts to not answer all of them.

The Hulls' predicament is interesting, and it paints a respectful portrait of identity theft victims and how easily otherwise smart people can be so nonchalant with their personal information, but this story falls short of the enthralling nature of the other two. Strong acting from Paula Patton and Alexander Skarsgard (unrecognizable from his popular True Blood persona) is enough to make us understand the characters' grief and keep the story humming along, but there are times when the other two plotlines threaten to overwhelm this one. Disconnect is a kinetic film that never stops moving and criss-crosses its storylines with energy to spare, so it thankfully never lingers on this slightly less enthralling chapter for too long.

Disconnect is first and foremost about social commentary, but it stands tall thanks to several standout performances. Leading the way is Jason Bateman, who steps away from his comedic roles to paint a powerful portrait of a man who is undeniably obsessed, but in a way many fathers can relate to. Up-and-coming British actress Andrea Riseborough (currently also seen in Oblivion) dons a flawless American accent and is entirely believable as an ambitious reporter who is forced to stare down some haunting ethical questions. The two main teenage actors, including Jonah Bobo as an all-too-realistic social outcast, and Colin Ford as a bully who receives true three-dimensional treatment from the screenplay, are exemplary. Finally, two high-energy, scene-stealing performances are turned in by Max Theriot as the cocky, rambunctious Kyle, and Frank Grillo as Jason's stern (albeit for good reasons) father. Grillo in particular has the satisfaction of participating in two of the film's storylines, and he dominates every scene.

LD Entertainment would be wise to re-release Disconnect come Oscar season. This is the kind of movie, with its engrossing narrative and rich ideas, that would play better in the autumn, when the summer blockbusters have long vacated multiplexes. Maybe it will play better on home video, where the ridiculous double-standard of "drama= TV, action and comedy= multiplexes" will once again be italicized. Regardless of when or how you choose to see this movie, I strongly encourage you to seek it out. It's not the least bit artsy-fartsy; in fact, with Rubin's stylistic emphasis of on-screen text blurbs and Facebook message shots, it's easily relatable and digestible even for teenage viewers. Not to mention the fact that there are enough familiar faces to make mainstream movie-goers comfortable. Bottom line: disconnect from your phone/tablet/computer for a few hours and watch this thought-provoking ensemble tale. You can plug back in anytime.

Rating: ***1/2 out of ****