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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Buried stars Ryan Reynolds as Paul Conroy a contract truck driver in Iraq who much to his own surprise wakes up from within the confines of an old wooden coffin buried an indeterminate depth underground. He doesn't immediately know who has kidnapped him or what he can do to try and get out; all he knows is that the clock is ticking and unless he can reach the outside world he is going to suffer a horrible death.
By most measures of common sense Buried should not be as a whole the harrowing film it is. That's not because it's directed and written by relative newcomers Rodrigo Cortes and Chris Sparling respectively nor is it because Reynolds lacks the power to anchor a film all his own. It's because Buried is a 95-minute movie that takes place entirely from within the confines of a coffin. By all expectations a movie that never leaves a space that's barely big enough to fit a human being should quickly run out of steam.
So how does director Cortes turn a film that takes place in such a tortuously small setting into a full-blooded feature that satisfies its run time? He starts with Reynolds as his centerpiece. For years the actor has been cultivating his presence as a handsome and charming leading man but here the camera doesn't care one bit about selling tickets based on showing off Reynolds' physical features. It's all about Reynolds' ability to make an audience understand his thought process feel his fear and share his panic as to whether or not he will ever see daylight again.
And though Reynolds has proven more than capable of showcasing rapid explosions and suppressions of heartfelt emotions it doesn't hurt that director Cortes from a logistical standpoint never gives the audience any reason to doubt his star's pain. It flat out looks like Reynolds was buried alive and someone somehow snuck a camera in to film it. Obviously that's what a film called Buried should look like but in an age of filmmaking where technology separates actors from the harms their characters face it's exciting to see a film that completely removes the illusion of a safety barrier between the two.
The first 15 minutes alone will no doubt induce uncomfortable squirming and nervous flinching at the sight of Reynolds trying fruitlessly to do well anything from inside his pitiful tomb. The opening of Buried should become a cinematic reference point for how to make audience members suffer claustrophobia simply by watching someone else trapped within its clutches. Unfortunately the rest of the film isn't quite as consistently riveting as its stellar opening.
From a technical standpoint Cortes is ahead of the curve throughout the entire film. That's why it's regrettable that Sparling's script occasionally gets in the way of Cortes and Reynolds' disconcerting ability to make the audience go through everything Paul is going through. When it's just Paul desperately trying to perform simple tasks like reaching a cell phone on the other side of the coffin Buried is phenomenal. It's when Sparling's script runs out of interior threats to throw at the man that things begin to teeter on the precarious edge between unforgettable tension and reluctant melodrama.
Paul's situation is already dire enough as it is to trap the audience in the coffin with him. Between cell phone battery life and simple concerns like whether his lighter is burning too much oxygen there's more than sufficient motivation to feel awful for Paul. So when Sparling finds ways for the people on the other end of the phone to needlessly (and sometimes implausibly) rain on his already crappy parade even more it comes across as a little too forced and breaks the illusion that Reynolds and Cortes have so fantastically maintained throughout.
Even with a few scripting missteps however Buried consistently manages to recoup its confidence and pull the audience back into caring about the situation at hand. The film's ability to do so is simply further testament to the strengths of Cortes as a detail-oriented director (cinematography sound design and score all combine together in subtle yet highly effective ways) and Reynolds as considerably more than just a handsome leading man. It's refreshing to see him dominate a range of emotions this daunting and there's little doubt that Buried will later be remembered as both a landmark film for the actor and a benchmark exercise in isolationist horror movies.