Spike Jonze doesn't waste any time introducing us to the technology at the center of Her. "An operating system that can mimic human sentience?" a dangerously lonely Joaquin Phoenix wonders after catching glimpse of an ad in a transit station. "Don't mind if I do!" (He doesn't actually say that, don't worry.) But by the time we're meant to believe that such a world can seamlessly integrate characters like Scarlett Johansson's automated voice Samantha into the lives of living, breathing men and women like Phoenix's Theodore, we're already established residents of this arresting, icy, quivering world the filmmaker has built. We meet Theodore midway through his recitation of a "handwritten letter" he penned on behalf of a woman to her husband of many years. That's his job — tapping into his own unique sensititivies to play ghostwriter for people hoping to adorn their spouses, boyfriends, girlfriends, parents, and children with personal notes of personal affection. Theodore is no independent contractor; he's part of a thriving company, and we almost get the feeling that the folks on the receiving end of these letters are in the know. Before we ever encounter Samantha, we're embedded in the central conceit of the movie: emotional surrogacy is an industry on the rise.
What makes Jonze's world so palatable is that, beneath its marvelously eerie aesthetic, this idea is barely science-fiction. Theodore, humbled and scarred by a recent divorce from lifelong love Catherine (Rooney Mara, who contrasts Johansson by giving a performance that, for a large sum of the movie, is all body and no voice), accesses the will to go on through interractions with video game characters and phone-sex hotlines. But the ante is upped with Samantha, the self-named operating system that Theodore purchases to stave off loneliness, deeming choice a far less contorting one than spending time with old pals like Amy (Amy Adams)... at first.
Samantha evolves rather quickly from an articulate Siri into a curious companion, who is fed and engaged by Theodore just as much as she feeds and engages him. Jonze paces his construction of what, exactly, Samantha is so carefully that we won't even catch the individual steps in her change — along with Theodore, we slowly grow more and more enamored and mystified by his computer/assistant/friend/lover before we can recognize that we're dealing with a different being altogether from the one we met at that inceptive self-aware "H-hello?" But Jonze lays tremendous groundwork to let us know this story is all for something: all the while, as the attractions build and the hearts beat faster for Samantha, we foster an unmistakable sense of doom. We can't help but dread the very same perils that instituted one infamous admission: "I'm sorry, Dave. I'm afraid I can't do that."
But Jonze's sci-fi constructs are so cohesively intertwined with his love story that our dread doesn't exactly translate to an anticipation of HAL's hostile takeover. Her wedges us so tightly between Theodore and Samantha that our fears of the inevitable clash between man and machine apprehend a smaller, more intimate ruin. As Samantha's growth become more surprising and challenging to Theodore, to herself, and to us, the omens build for each.
And although all three parties know better, we cannot help but affix ourselves to the chemistry between Theodore and Samantha, and to the possibility that we're building toward something supreme. A good faction of this is due to the unbelievable performances of Phoenix — representing the cautious excitement that we all know so painfully well — and Johansson, who twists her disembodied voice so empathetically that we find ourselves, like Theodore, forgetting that we have yet to actually meet her. The one castigation that we can attach to the casting of Johansson is that such a recognizable face will, inevitably, work its way into our heads when we're listening to her performance. It almost feels like a cheat, although we can guarantee that a performance this good would render a figure just as vivid even if delivered by an unknown.
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In this way, Her is as effective a comment on the healthiest human relationships as it is on those that rope in third parties — be they of the living, automated, or greeting card variety. In fact, the movie has so many things to say that it occasionally steps on its own feet, opening up ideas so grand (and coloring them so brightly) that it sometimes has trouble capping them coherently. Admittedly, if Spike Jonze had an answer to some of the questions he's asking here, he'd probably be suspected of himself being a super-intelligent computer. But in telling the story of a man struggling to understand what it means to be in love, to an operating system or not, Jonze invites us to dissect all of the manic and trying and wonderful and terrifying and incomprehensible elements therein. Just like Samantha, Her doesn't always know what to do with all of its brilliance. But that might be part of why we're so crazy over the both of them.
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The entertainment world is in the process of morning a true Hollywood icon: Andy Griffith has passed away at the age of 86. Whether you knew him as a level-headed sheriff/father on The Andy Griffith Show or a kind-hearted, octogenarian-friendly lawyer in the legal drama Matlock, he was certainly a beloved figured.
One needn't look further than Twitter for evidence of that, as Hollywood's finest have already taken to their social network accounts to express their condolences and pay tribute to a true, rare entertainment gem. Read some of the best online tributes here:
Andy Griffith passes. reut.rs/Ni23aH— Roger Ebert (@ebertchicago) July 3, 2012
Andy Griffith His pursuit of excellence and the joy he took in creating served generations & shaped my life I'm forever gratefulRIP Andy— Ron Howard (@RealRonHoward) July 3, 2012
Take a moment and whistle "The Andy Griffith Show" theme today - finger snap optional - RIP Andy Griffith— Ralph Macchio (@ralphmacchio) July 3, 2012
Cant believe Andy Griffith passed away today. Loved his show. Prayers go out to the family. Use to watch it all the time with my papa— Phillip Phillips (@Phillips) July 3, 2012
RIP Andy Griffith.Sometimes I wish the world was as simple as it used to be in Mayberry.— Frank Caliendo (@FrankCaliendo) July 3, 2012
RIP Andy Griffith, 1 of our most underrated actors, watch him as Lonesome Rhodes in A Face in the Crowd, my fave moviemovies.netflix.com/Movie/A_Face_i…— Morgan Spurlock (@MorganSpurlock) July 3, 2012
RIP Andy Griffith.. We lost a legend today that provided me and my family some great quality time around the tv filled with some good laughs— Scotty McCreery (@ScottyMcCreery) July 3, 2012
RIP Andy Griffith. Hard to say what was better Andy Griffith show or Mattlock. Either way dats a lot of TV history!Thanks!— Kevin Farley (@Imkevinfarley) July 3, 2012
just found out the ANDY GRIFFITH passed away. an american treasure. if you can, give a little whistle for him today.— Rob Thomas (@ThisIsRobThomas) July 3, 2012
Farewell to a TV ICON :("@NBCNewYork: TV legend Andy Griffith dies at 86. | bit.ly/M3VpFq"— Holly Robinson Peete (@hollyrpeete) July 3, 2012
I adored Andy Griffith. Sweet and funny and true.— Paula Pell (@perlapell) July 3, 2012
RIP Andy Griffith… bit.ly/LuIP14— Russell Simmons (@UncleRUSH) July 3, 2012
RIP Andy Griffith. I imagine heaven will look a lot like Mayberry.— Todd Grisham (@GrishamESPN) July 3, 2012
Andy Griffith died this morning.And a little bit of my childhood with him.Thanks for the laughs sir.— Philip DeFranco (@PhillyD) July 3, 2012
Rest In Peace Andy Griffith. Praying for his family, friends and fans.— Rodney Atkins (@RodneyAtkins) July 3, 2012
RIP Andy Griffith. Thank you for all the laughs. I love Mayberry, and never knew that R.F.D. was for Rural Free Delivery. #AndyGriffith— Dave Coulier (@DaveCoulier) July 3, 2012
I hear a familiar whistle up here. RIP, Andy Griffith.— God (@TheTweetOfGod) July 3, 2012
[Photo credit: AP Images]
Remembering Andy Griffith: TV Legend Dies at 86
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
Based loosely on the 19th century Jules Verne novel 80 Days revolves around two unlikely heroes--the eccentric and reclusive inventor Phileas Fogg (Steve Coogan) and his (French?) valet Passepartout (Jackie Chan). While Fogg's "wacky" inventions actually make a lot of sense to us modern-day folk including his insights on flight electricity (which he has rigged so that light illuminates with a whistle) and even Rollerblades to his turn-of-the-century contemporaries the scientist is a giant crackpot. Desperate to be taken seriously Fogg makes an outlandish bet with Lord Kelvin (Jim Broadbent) the head of the London's Royal Academy of Science that he can circumnavigate the globe in no more than 80 days. Impossible you say? Not to Fogg whose obsession with facts and schedules makes him the perfect candidate for such an adventure. With the ever-faithful Passepartout by his side--who has his own secret reasons for joining in on the fun--Fogg heads out on his frantic heart-pounding journey picking up a third traveler a beautiful French artist named Monique (Cécile de France) in the process. But of course the trip doesn't go exactly as scheduled and Fogg as well as Passepartout learn more than a few valuable life lessons along the way. How sweet. Got a toothache yet?
Jackie Chan knows precisely what works for him. Differing slightly from the 1956 adaptation this 80 Days is all about Passepartout as the story tapers itself to fit Chan's specialties. This means you get to marvel once again at his masterful martial arts skills as well as chuckle at his innate sense of physical comedy. As another perfect straight man to Chan's Chinese sensibilities and kung-fu shenanigans Coogan (24 Hour Party People) also does a nice turn as the befuddled and veddy British Fogg while the lovely de France as Monique breathes some fresh air into her ingénue role (and is much more substantial to the plot than the original's Shirley MacLaine who played an Indian princess). Broadbent is adequately sleazy as the pompous Lord Kelvin full of as much hot air as the balloon Fogg and company take a ride in. But 80 Days's extensive list of cameos is the most fun--from Owen and Luke Wilson as the bickering Wright brothers to Rob Schneider as a malodorous San Franciscan hobo to Arnold Schwarzenegger as a Arabian prince (please tell me he made this before he became California's governor). Plus any movie in which Kathy Bates plays Queen Victoria British accent and all has got to be worth seeing .
Minus all the silly songs 80 Days is splashy family fare reminiscent of such films as Willy Wonka and the Chocolate Factoryand the original 1967 Doctor Dolittle (you know the one with a giant pink sea snail). Supported by glorious sets and costumes director Frank Coraci (The Wedding Singer) clearly loves the fanciful adventure of it all creating colorful transitions from one place to the next as Fogg Passepartout and Monique traverse across the globe. But there's always an inherent problem with films of this nature--they tend to be long-winded. The 1956 version of 80 Days which even with a stellar cast including David Niven and Cantinflas drags quite a bit. But with a feisty martial arts expert in the mix this updated 80 Days maintains its momentum for the most part only losing steam towards the end especially after the whole Passepartout subplot in which he has to return a priceless Buddha to his Chinese village is resolved. Suddenly the film becomes just about the race back to London and less about fighting off evil Chinese assassins. Honestly we don't care much about how an uptight British inventor can build a plane out of a boat that will get him back to his final destination in time so he can give a monologue about how his adventure afforded him to make new friends and fall in love. If it's a Jackie Chan movie it's the awesome fight sequences we want to see.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.