Directed by:
Spike JonzeScreenplay:
Spike JonzeCinematography:
Hoyte van HoytemaCast:
Joaquin Phoenix, Amy Adams, Scarlett Johansson, Rooney Mara, Olivia Wilde, Chris Pratt, Matt Letscher, Portia Doubleday, Sam Jaeger, Katherine Boecher (more)VOD (5)
Plots(1)
Set in Los Angeles, in the near future, Her follows Theodore Twombly (Joaquin Phoenix), a complex, soulful man who makes his living writing touching, personal letters for other people. Heartbroken after the end of a long relationship, he becomes intrigued with a new, advanced operating system, which promises to be an intuitive and unique entity in its own right. Upon initiating it, he is delighted to meet "Samantha," a bright, female voice (Scarlett Johansson) who is insightful, sensitive and surprisingly funny. As her needs and desires grow, in tandem with his own, their friendship deepens into an eventual love for each other. (official distributor synopsis)
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Reviews (12)
Spike Jonze's film was preceded by a reputation as a cultured romantic spectacle with refined acting performances, artistic visuals, and a sophisticated aesthetic. In short, it was one of the hot candidates for the Oscars. The praise was not lying. If the film were a date, then She has a fine appearance, a meeting with her will definitely not offend anyone, and it is a date on a level where you don't feel like wasting your time with someone mediocre. But unfortunately, a connection with her didn't develop for me. I have no problem with the casting, as Joaquin Phoenix is an excellent actor and delivers exactly what is expected of him. He gives his character a sadly melancholic and even tragic dimension, and his loneliness gradually starts to hurt you physically. I also have no problem with the filmmaking in any way. What I do have a problem with, however, is the genre direction, as well as the way the characters are portrayed and the lack of identification with them. I also have difficulty with how the screenwriter works with the material. This theme directly invites a comedic approach, and in the first few minutes, it seemed to be heading that way and I was enjoying it. But as soon as it turned into a study of human loneliness and emotional dissatisfaction, I started to distance myself from the film. This is especially true when the director presents his protagonist as a victim and someone I should sympathize with. So, who is the victim then? Technology? It is just a tool that can be used well or poorly. If you look into a contemporary restaurant, you will see several couples who show much more interest in their mobile phones than in each other. But those phones are not to blame for their inability to communicate. Computers can save time and perform a huge amount of work, or you can mindlessly waste a lot of time with them. Online discussions can serve as excellent platforms for exchanging opinions and information, but also for empty talk and trolling. If Theodore is someone's victim, then he is a victim of his own nature and actions. I see a man prone to depression who refuses to admit his illness and wallows in his own self. I see a blind man who overlooks the values that are right in front of him. I see a fool who prefers a substitute where he can - and he really can - have a full-fledged relationship. There are very few film characters that I dislike as much as Theodore, and during the final scene on the rooftop of a high-rise building, when the protagonists are about to escape from themselves, I had the strong urge to kick those two cowards down myself. As for love for a computer program, in our world, there are countless substitutes and replacements for a romantic relationship. You can travel, immerse yourself in your work like a workaholic, or dedicate your feelings to fish in an aquarium. A computer program, if cleverly set up, could become a highly seductive and efficient substitute for love, but it will always be a one-sided affair. I grew up on the works of Stanislaw Lem, and they are marked by a deep skepticism toward the possibility of understanding between different civilizations, cultural circles, or even animal species. It is absurd to assume that if I cannot understand, accept, and love other members of the same species, I will gain and maintain a love for artificial intelligence based on completely different values and perceptions. Such a program would cease to fulfill its function precisely at the moment when the term artificial intelligence is fulfilled and it surpasses the barrier imposed by the program. By the way, this development would be much faster than Spike assumes. Overall impression: 45%.
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"Play melancholic song." A design showcase for the 21st century bourgeoisie that really doesn't go one step beyond a mere experiment with the romance movie genre with its theme of transhumanity, which is built on nothing more than the fact that she is an artificial intelligence. The visuals, reminiscent of an attempt to place images from an Ikea catalogue into a narrative context, raise wild theories about whether we are actually in some kind of horrifying Heinlein-esque dystopia where all the characters are actually silent accomplices leading their empty lives in gentrified cities where all the people are young, beautiful, rich, and have creative jobs. That and Joaquin Phoenix in the lead with the creepy gamepiece in his forehead (https://www.youtube.com/watch?v=hOimTfNR110) pull the whole otherwise pretty awful spectacle of designer consumerism up to a certain level. "Play melancholic film. Play different melancholic film."
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Hi, I’m Spike and I generate films just for you! - Oh! That’s great, let’s see what you can do. - Well, first, what genre would you like? - Hey, I quite fancy some sci-fi. But a smart one, no madness with robots or anything like that. A pinch of social satire and… - OK, I’m writing it down. What about romance? Humour? Would that be fine? - Yeah, I guess, but only a little, so it would be a bit sad and melancholic, rather than cloying, get it? And the humour, just a bit to spice things up. - Sure, we’ll go easy on it. And what about the actor for the leading role? You have any special requirements? - How about someone renowned but not a big celebrity? Maybe Philip Seymour Hoffman? - Sorry, mate, he’s dead. And Joaquin Phoenix? - Yeah, no worries. - And in what era would you like it to take place? A slightly altered present or a far, post-apocalyptic… - If possible, maybe somewhere in the near future. So it would be very similar to now, but also with some different and original details. I’d love that. So I could imagine that things will be like that in a few years, but I wouldn’t be too happy about it. - So the tone would be rather depressing? - Well…. not that, no. I don’t want any cheap happy ending, but it doesn’t need to be a heavy downer, either. Something half-way. Don’t make it too happy, but leave the characters with some hope. - Well, I think I already have it. It will be called Her. Have fun.
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As a romantic film for romantics who are bored of cinematic romance and who turn off the TV before a couple in love have their last passionate kiss in the rain, Her is an absolutely brilliant choice. The original story set in the future works with so many unfamiliar and novel elements that it actually puts pressure on itself in order to successfully withstand all that new and strange stuff without ironically falling into the mundane. And despite the slightly cringe and sleepy last act, I can solemnly declare that the peculiar creator Spike Jonze has once again mastered his difficult task. This is by no means a deep odyssey across the sexual cells of humanity, and the romantic atmosphere simply couldn't work that well with the unmistakable female element replaced by a computer (as sexy as the voice sounded), but to be fair, the direction is flawless, originality clearly triumphs, and the script is built cleverly enough to keep our attention until the somewhat lacklustre finale. And God forbid that this vision should ever come true. :) 80%
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Melancholy laden with mesmerizing visuals for those who occasionally crave sentimental dramas and independent small stories, and are not afraid to venture into a future where a seductive voice will take the lead. There are plenty of life planes, parallels, and references sketched out, but none will try to impose themselves on you, which is a very positive thing. Excellently acted, technically flawless, a very sad and occasionally depressing film that describes the problems of our time with great skill. Too bad about the occasional dull passages and the overly dragging pace. It wasn't as personal as I expected.
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