Untraceable certainly isn’t a flawless thriller, but it’s a solid, scrumptious one. It’s not only a monstrous, hard-at-times to study film, but it has a brain, and sure opinions about how our culture seems to feed like pirahna on the misery and suffering of others using the immediacy of the internet.
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Diane Lane plays an Portland FBI cybercrime investigator who finds herself after a monstrous killer who kidnaps his victims and tortures them to death on the internet, upping the ante as mercurial as he gets hits on his website. Lane’s character is smooth grieving the death of her husband, a policeman killed in the line of duty, and this case fleet intrudes on her life with her mom and her young daughter.
There’s no phony romance with her cop partner, no killer who is somehow connected to Lane, and she gets to attach the day without a male cop taking over for her. There are state aspects that don’t ring just, but overall, this is a quick-witted, intelligent film that has something to say, and says it delicate well.
The Internet is superb of many things, some of them reliable, some of them bad; “Untraceable” is a film that shows not only its shocking side, but the repugnant side of humanity, as well. This is an unnerving, suspenseful film that doesn’t skimp on social commentary, and this is despite the fact that it hurts like hell to hear it. I knew that I was supposed to feel absolutely icky walking out of the theater, but I had no belief I’d feel that design as soon as the film started: it begins in a dimly lit, grimy basement, where an unseen person begins torturing a kitten. Using a camcorder, this person transmits this unpleasant footage to a live video feed on the Internet. The website–called killwithme.com–is soon up and running, and under mysterious circumstances, it comes to the attention of Jennifer Marsh (Diane Lane), an FBI agent from Portland, Oregon specializing in Internet criminals. She’s obviously disgusted by a website showing a tortured animal, but she has yet to learn what it means or even how the website operates.
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That hasty changes. The next victim is a shirtless man who’s had the website’s name carved into his chest. An IV automatically pumps a decoagulant into his body, which prevents his blood from clotting. This means that he’ll bleed to death, despite the fact that his chest wounds are relatively minor. But this isn’t the worst of it; Marsh soon realizes that the run of the IV drip is directly related to the number of hits the website gets. In a nutshell, the more hits, the faster the man dies. Clear enough, the hits unprejudiced support on coming, and within six hours, the man is tiring,. Marsh is immediately frustrated because she can’t shut the state down–every time she tries, it bounces to a mirror spot on a different server and continues to bustle. It also relies on an current Russian server, meaning the United States has no jurisdiction. In essence, killwithme.com is an untraceable website.
Marsh posthaste understands that this case is going to require a lot of planning and staunch execution. Assigned to the case with her is Detective Eric Box (Billy Burke) –they both fill that whoever is running the website is purposely seeking attention, and what better diagram to catch it than with press conferences and news reports? An uptight FBI director (Peter Lewis) publicly announces that anyone who visits the website is an accomplice to abolish, and of course, his words have the real opposite finish. That’s because there’s now a third victim being broadcast on the website, and the hits are greater than they ever were before. I won’t continue to characterize what the killer actually does to these people, but it’s marvelous for you to bewitch that, with each person, the methods salvage more and more dreadful to ogle.
Things pick a personal turn when Marsh’s daughter, Annie (Perla Haney-Jardine), says that a video of their house is being shown on the computer. Marsh runs outside to rep an abandoned car with a camera bent to the antenna and a dreary body in the trunk. Clearly, whoever is running killwithme.com has tapped into her computer’s personal files. How and why, she doesn’t know. But she’d better win out soon, because the website is featuring yet another victim; as this fresh person suffers for everyone to peer, Marsh finally realizes that each victim is somehow connected to the killer.
But who exactly is the killer? That’s the determined demand for any execute mystery, and most of the time, we have to wait until the waste for the stout revelation. This isn’t the case with “Untraceable.” The audience actually learns the killer’s identity early on–it’s more a matter of the characters not sparkling until the raze. It’s also a matter of figuring out the killer’s motives, because we all know that a motive makes a kill mystery remarkable more satisfying (although not necessarily more realistic) . But in all honesty, the killer’s identity is not what drives the story; this film is without a doubt a important commentary on Internet technology, showing how something so benign can be broken-down to showcase base things. A minor subplot involves a secret DVD stash of snuff films and suicides–I know perfectly well that such DVDs actually exist and that there’s a market for them. What does that say about humanity? Why do we like to examine that putrid stuff? The website in “Untraceable” is not a reflection of a screenwriter’s bent imagination, but of the reality that determined people would happily visit it if it were actual.
The film’s only weakness is the lack of developed relationships. Marsh is established as a workaholic who rarely spends time with her daughter. Marsh’s mother, Stella (Mary Beth Wound), does most of the nurturing. But not enough of this was shown; at a sure point, both Annie and Stella are sent away for their protection, and we never glimpse them again, which is unpleasant since they could have added so considerable more to the myth. For some, the scenes of torture and assassinate will be too disturbing to ogle, as this movie (correctly) steers sure of campy gore. I know that the image of that dreadful kitten will haunt me forever, which almost makes me wish I hadn’t seen this film in the first dwelling. But when taking into memoir the clever space, the tense atmosphere, and the harsh social commentary, it becomes positive that “Untraceable” is too effective to overlook.
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