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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Successful architect Jonathan Rivers' (Michael Keaton) peaceful existence is shattered by the unexplained disappearance and death of his wife Anna (Chandra West). But that's not the worst of it. Jonathan is then contacted by a man who claims to receive messages from Anna through Electronic Voice Phenomenon (EVP) a form of clairvoyance in which the dead can communicate through such electronic devices as radio television and computers. Well that's just plain crazy talk! Not to Jonathan who is soon convinced EVP is the real deal. He becomes obsessed with it setting up his own EVP den of snowy white noise-filled televisions computer screens and recording devices in hopes of hearing from his beloved. Problem is--and it's a rather major problem--the further he probes into this paranormal activity the more he opens himself up to hearing from all the dearly departed some of whom aren't so dear. In fact there are more than a few on the "other side" who are downright psychotic and none too happy about being meddled with. They're heeeeeeere!
Just where the heck has Michael Keaton been? Although he turned in a powerhouse performance in HBO's Live From Baghdad in 2002 the actor has been out of the movie limelight for quite sometime save for a brief and wasted appearance as the President of the United States in last year's tepid First Daughter. White Noise regrettably doesn't do the talented actor any justice either but at least he's back in the driver's seat. To his credit Keaton is convincing as the bereft Jonathan grasping at whatever he can to ease the pain but he has a tougher time once the film veers off into Poltergeist territory. In the supporting roles Deborah Kara Unger also does a nice turn as Sarah a kindred spirit who finds closure after contacting her dead fiancé but whose life is in danger once she gets wrapped up in Jonathan's obsession. But the most dead-on (pun intended) line comes from Jonathan's young son Mike (Nicholas Elia) who asks "Are you going to be all right daddy?" From the mouths of babes …
EVP is a bonafide practice. There are people and organizations all over the world devoted to this little-known but growing paranormal activity. Now whether you believe in EVP or not the idea of it is still very fascinating and one could see how making a film about it could be chillingly entertaining. Unfortunately however screenwriter Niall Johnson and BBC-TV director Geoffrey Sax in his feature film debut muck it up and turn White Noise into a contrived muddled mess. Perhaps if the film concentrated on the Poltergeist-meets-Ghost aspect as Jonathan gives into his obsession and lets the nasty entities take over it could have worked. But like the dreadful 2002 Dragonfly in which a man is sent on a rescue mission directed by communications from his dead wife White Noise takes a sudden shift as Jonathan's wife guides him to hunt down a serial killer. This tacked-on hackneyed plot point obviously devised to heighten the suspense only brings the film down. Even White Noise's look is unoriginal with its very antiseptic water-dripping and cold-concrete sets. Been there done that.