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 2013 nominees for the Writers Guild of America awards have been announced. Writers, you say? Yes, writers! The people that make words dance on pages to create the worlds in which our favorite shows flourish. Some people, when confronted with a brilliant episode of television automatically assume the credit for its general goodness should go to the actors. But what about the writers? They are often just as (if not more so) likely to be the reason you laughed, cried, gasped, guffawed, or squirmed in your seat during last week's episode of your favorite show.
These makers of televised scripts carry a good chunk of a show's success (and failure) on their shoulders, and leading the pack of successful witty wordsmiths? Lena Dunham and her HBO darling Girls. Overall, it seems as though cable dramas fared better than broadcast (which, duh), but on the flip-side, broadcast comedies outdid their cable brethren. Breaking Bad cleaned up in the episodic drama category, and comedy lady hero Amy Poehler got herself a nod for the episode of Parks and Recreation she penned, "The Debate."
Check out the full list of nominees below!
Boardwalk Empire written by Dave Flebotte, Diane Frolov, Chris Haddock, Rolin Jones, Howard Korder, Steve Kornacki, Andrew Schneider, David Stenn, Terence Winter; HBO
Breaking Bad written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC
Game of Thrones written by David Benioff, Bryan Cogman, George R. R. Martin, Vanessa Taylor, D.B. Weiss; HBO
Homeland written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Meredith Stiehm; Showtime
Mad Men written by Lisa Albert, Semi Chellas, Jason Grote, Jonathan Igla, Andre Jacquemetton, Maria Jacquemetton, Brett Johnson, Janet Leahy, Victor Levin, Erin Levy, Frank Pierson, Michael Saltzman, Tom Smuts, Matthew Weiner; AMC
30 Rock written by Jack Burditt, Kay Cannon, Robert Carlock, Tom Ceraulo, Vali Chandrasekaran, Luke Del Tredici, Tina Fey, Lauren Gurganous, Matt Hubbard, Colleen McGuinness, Sam Means, Dylan Morgan, Nina Pedrad, John Riggi, Josh Siegel, Ron Weiner, Tracey Wigfield; NBC
Girls written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
Louie written by Pamela Adlon, Vernon Chatman, Louis C.K.; FX
Modern Family written by Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Audra Sielaff, Brad Walsh, Bill Wrubel, Danny Zuker; ABC
Parks and Recreation written by Megan Amram, Greg Daniels, Nate Dimeo, Katie Dippold, Daniel J. Goor, Norm Hiscock, Dave King, Greg Levine, Joe Mande, Aisha Muharrar, Nick Offerman, Chelsea Peretti, Amy Poehler, Alexandra Rushfield, Michael Schur, Mike Scully, Harris Wittels, Alan Yang; NBC
Girls written by Judd Apatow, Lesley Arfin, Lena Dunham, Sarah Heyward, Bruce Eric Kaplan, Jenni Konner, Deborah Schoeneman, Dan Sterling; HBO
The Mindy Project written by Ike Barinholtz, Jeremy Bronson, Linwood Boomer, Adam Countee, Harper Dill, Mindy Kaling, Chris McKenna, B.J. Novak, David Stassen, Matt Warburton; Fox
Nashville written by Wendy Calhoun, Jason George, David Gould, David Marshall Grant, Dee Johnson, Todd Ellis Kessler, Callie Khouri, Meredith Lavender, Nancy Miller, James Parriott, Liz Tigelaar, Marcie Ulin; ABC
The Newsroom written by Brendan Fehily, David Handelman, Cinque Henderson, Paul Redford, Ian Reichbach, Amy Rice, Aaron Sorkin, Gideon Yago; HBO
Veep written by Jesse Armstrong, Simon Blackwell, Roger Drew, Sean Gray, Armando Iannucci, Ian Martin, Tony Roche, Will Smith; HBO
“Buyout” (Breaking Bad), written by Gennifer Hutchison; AMC
"Dead Freight” (Breaking Bad), written by George Mastras; AMC
“Fifty-One” (Breaking Bad), written by Sam Catlin; AMC
“New Car Smell” (Homeland), written by Meredith Stiehm; Showtime
“The Other Woman” (Mad Men), written by Semi Chellas and Matthew Weiner; AMC
“Say My Name” (Breaking Bad), written by Thomas Schnauz; AMC
“The Debate” (Parks and Recreation), written by Amy Poehler; NBC
“Episode 9” (Episodes), written by David Crane & Jeffrey Klarik; Showtime
“Leap Day” (30 Rock), written by Luke Del Tredici; NBC
“Little Bo Bleep” (Modern Family), written by Cindy Chupack; ABC
“Mistery Date” (Modern Family), written by Jeffrey Richman; ABC
“Virgin Territory” (Modern Family), written by Elaine Ko; ABC
LONG FORM – ORIGINAL
Hatfields and McCoys, Nights 2 and 3, teleplay by Ted Mann and Ronald Parker, Story by Bill Kerby and Ted Mann; History Channel
Hemingway & Gelhorn written by Jerry Stahl and Barbara Turner; HBO
Pilot (Political Animals), written by Greg Berlanti; USA
LONG FORM – ADAPTED
Coma, Nights 1 and 2, teleplay by John McLaughlin, based on the book by Robin Cook; A&E
Game Change written by Danny Strong, based on the book by Mark Halperin and John Heilemann; HBO
“A Farewell to Arms” (Futurama), written by Josh Weinstein; Comedy Central
“Forget-Me-Not” (Family Guy), written by David A. Goodman; Fox
“Holidays of Future Passed” (The Simpsons), written by J. Stewart Burns; Fox
“Ned and Edna’s Blend Agenda” (The Simpsons), written by Jeff Westbrook; Fox
“Treehouse of Horror XXIII” (The Simpsons), written by David Mandel & Brian Kelley; Fox
COMEDY / VARIETY (INCLUDING TALK) – SERIES
The Colbert Report writers: Michael Brumm, Stephen Colbert, Rich Dahm, Paul Dinello, Eric Drysdale, Rob Dubbin, Glenn Eichler, Dan Guterman, Peter Gwinn, Barry Julien, Jay Katsir, Frank Lesser, Opus Moreschi, Tom Purcell, Meredith Scardino, Scott Sherman, Max Werner; Comedy Central
Conan writers: Jose Arroyo, Andres du Bouchet, Deon Cole, Josh Comers, Dan Cronin, Michael Gordon, Brian Kiley, Laurie Kilmartin, Rob Kutner, Todd Levin, Brian McCann, Conan O'Brien, Matt O'Brien, Jesse Popp, Andy Richter, Brian Stack, Mike Sweeney; TBS
The Daily Show With Jon Stewart writers: Rory Albanese, Kevin Bleyer, Richard Blomquist, Steve Bodow, Tim Carvell, Hallie Haglund, J.R. Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart; Comedy Central
Jimmy Kimmel Live writers: Tony Barbieri, Jonathan Bines, Joelle Boucai, Sal Iacono, Eric Immerman, Gary Greenberg, Josh Halloway, Bess Kalb, Jimmy Kimmel, Jeff Loveness, Molly McNearney, Bryan Paulk, Danny Ricker, Rick Rosner; ABC
Key & Peele writers: Jay Martel, Ian Roberts, Keegan Michael Key, Jordan Peele, Sean Conroy, Colton Dunn, Charlie Sanders, Alex Rubens, Rebecca Drysdale; Comedy Central
Portlandia writers: Fred R. Armisen, Carrie Brownstein, Karey Dornetto, Jonathan Krisel, Bill Oakley; IFC
Real Time With Bill Maher writers: Scott Carter, Adam Felber, Matt Gunn, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Mike Larsen, Bill Maher, Billy Martin; HBO
Saturday Night Live Head writer: Seth Meyers. Writers: James Anderson, Alex Baze, Neil Casey, Jessica Conrad, James Downey, Shelly Gossman, Steve Higgins, Colin Jost, Zach Kanin, Chris Kelly, Joe Kelly, Erik Kenward, Rob Klein, Lorne Michaels, John Mulaney, Christine Nangle, Mike O’Brien, Josh Patten, Paula Pell, Marika Sawyer, Sarah Schneider, Pete Schultz, John Solomon, Kent Sublette, Bryan Tucker, Additional Sketch By Emily Spivey, Jorma Taccone, Additional Material By Frank Sebastiano; NBC Universal
COMEDY / VARIETY – MUSIC, AWARDS, TRIBUTES – SPECIALS
66th Annual Tony Awards written by Dave Boone; special material by Paul Greenberg; opening and closing songs by David Javerbaum, Adam Schlesinger; CBS
2012 Film Independent Spirit Awards written by Billy Kimball, Wayne Federman; IFC
After the Academy Awards Head writers Gary Greenberg, Molly McNearney. Writers Tony Barbieri, Jonathan Bines, Sal Iacono, Eric Immerman, Jimmy Kimmel, Jeffrey Loveness, Bryan Paulk, Danny Ricker, Richard G. Rosner; ABC
National Memorial Day Concert written by Joan Meyerson; PBS
Days of Our Lives written by Lorraine Broderick, Carolyn Culliton, Richard Culliton, Rick Draughon, Christopher Dunn, Lacey Dyer, Janet Iacobuzio, David A. Levinson, Ryan Quan, Dave Ryan, Melissa Salmons, Roger Schroeder, Elizabeth Snyder, Christopher J. Whitesell, Nancy Williams Watt; NBC
One Life to Live written by Lorraine Broderick, Ron Carlivati, Anna Theresa Cascio, Daniel J. O’Connor, Elizabeth Page, Jean Passanante, Melissa Salmons, Katherine Schock, Scott Sickles, Courtney Simon, Chris Van Etten; ABC
The Young and the Restless written by Amanda Beall, Jeff Beldner, Brent Boyd, Susan Dansby, Janice Ferri Esser, Jay Gibson, Scott Hamner, Maria Kanelos, Natalie Minardi Slater, Beth Milstein, Michael Montgomery, Anne Schoettle, Linda Schreiber, Lisa Seidman, Sarah K. Smith, Christopher J. Whitesell, Teresa Zimmerman; CBS
CHILDREN'S – EPISODIC & SPECIALS
“The Good Sport” (Sesame Street), written by Christine Ferraro; PBS
CHILDREN’S – LONG FORM OR SPECIAL
Girl vs. Monster story by Annie De Young; teleplay by Annie De Young and Ron McGee; Disney Channel
Winners will be announced on February 17th at events in New York and Los Angeles. What do you think of this year's nominees? Let us know in the comments!
[Photo Credit: Jojo Whilden/HBO]
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In the opening scenes of the new "comedy" Jack and Jill commercial director Jack Sadelstein (Adam Sandler) and his business partners take a break from the set of their Regis Philbin-starring Pepto Bismol commercial to discuss the prospect of landing Al Pacino for a new Dunkin' Donuts spot. Even with the pressure mounting the idea of landing the A-Lister is the least of Jack's worries—his real stress stemming from his heinous twin sister Jill (also played by Sandler) who is scheduled to visit for Thanksgiving. We don't know much about Jill at that point but even the prospect of spending a few days with his sibling prompts the cankerous Jack to chug an entire bottle of the commercial's pink antidiarrheal product.
Turns out the medical cocktail was quite appropriate. By the end of Jack and Jill kicking back an entire bottle of Pepto Bismol may be the first logical step to curing the gut-wrenching feeling induced by the movie's painfully lazy antics. To call the latest from Sandler's Happy Madison Productions (Paul Blart: Mall Cop Grown Ups Bucky Larson: Born to Be a Star) a bad movie isn't strong enough. Nor is describing it as a complete void of comedy. And the movie doesn't even come close to a so-stupid-its-funny scenario. No Jack and Jill is honest to goodness mental destruction—a collision of half-baked comedy sketches violent potty humor shrouded racism shotgun celebrity cameos and unapologetic product placement. There is more coherency care and consideration poured in to a child's spin art painting than any moment Sandler or director Dennis Dugan whip up for this film.
From the movie's very first moments to its obvious ham-fisted conclusion the mere presence of Jill sends Jack into a temper meltdown—and it's not hard to see why. Sandler's lady from the Bronx is a loud abhorrent self-loathing woman an obtuse fish-out-of-water who sees no issue with stereotyping Jack's adopted Indian son or using phrases like "make chocolate squirties" after a night of chimichangas (may I recommend Pepto Bismol?). The script would like us to feel sympathetic for Jill as she's turned down by every man she meets adding to her existing physical appearance woes ("I'm too fat!" she declares before hopping up on a horse and crushing it under her own weight). Unfortunately it's obvious that no one behind-the-camera actually gives a damn about her or any of the other characters to help realize that struggle honestly or humorously.
Knowing the movie can't entirely rely on Jill's flatulence to baffle its audience Jack and Jill employs a number of shameless drive-by appearances from across the Hollywood spectrum to replace actual entertainment. Johnny Depp Jared the Subway Guy Shaq Bruce Jenner the Sham-Wow Guy and Drew Carey (who Jill meets while embarrassing herself on The Price Is Right) all stop by for a cheap laugh. Maybe that's a good thing—the cameos are nonsensical enough to distract from Jack and Jill's plot one that trudges along at a glacial pace as Jill finds ways to stay at Jack's house and ruin her brother's life.
Sandler recruited Katie Holmes and Al Pacino to fill the film's two non-twin roles and to the benefit of their careers he gives them little to do. Holmes isn't given a single scene in which she does anything more than rag on Jack for hating his sister or detach objects her son perpetually tapes to his body (a pepper shaker a hamster a bird a lobster). Pacino has a meatier role one that you may even expect to garner a few laughs spoofing his thunderous thespian self who melts at the sight of Jill. But the material director Dennis Dugan bestows on the legendary actor is scraped from the bottom of the barrel. Not even Pacino can make passing off gibberish as a foreign language funny. The saving grace for the movie is watching Pacino go method and pursue Jill as Don Quixote from The Man of La Mancha. At that point the reference is a reminder that out there somewhere beyond the movie theater/black hole playing Jack and Jill is a world full of culture and class.
Jack and Jill isn't really a movie but more of an extended Royal Caribbean Cruises commercial with a Dunkin Donuts dance number set to an extended fart exploding from a dragged-out Adam Sandler's buttocks. The bar for entertainment value has never been set lower than this film an experience so toxic to the mind that along with its PG-rating should carry a warning label from Surgeon General.
Better make it two Pepto-Bismols.
WHAT IT’S ABOUT?
When all-American girl Susan Murphy is inadvertently hit by a falling meteor on her wedding day she grows to be nearly 50 feet tall. The U.S. military gets wind of this renames her Ginormica and locks her away with a slacker group of other “monsters” in a top-secret compound. But when a mysterious alien robot lands on Earth and begins wreaking havoc these good-hearted but inept creatures are called into action by the President and must band together as a team to save the world from certain catastrophe.
WHO’S IN IT?
As usual Dreamworks has assembled a stellar A-list voice cast led by Reese Witherspoon as Susan/Ginormica. Playing one of the rare female animated heroes Witherspoon’s sweet/confused demeanor — in light of her highly unusual status as a fearsome freakazoid — hits just the right tone generously letting her zanier colleagues steal scenes from right under her (a long way down by the way). Chief among these are a not-so-bright gelatinous blue mass named B.O.B. hilariously voiced by Seth Rogen; the genius Dr. Cockroach Ph.D in the capable hands of House doc Hugh Laurie; and Will Arnett’s half-ape half-fish The Missing Link. In the human roles there’s Stephen Colbert as the idiotic U.S. President Kiefer Sutherland as the monster’s prison guardian Paul Rudd as the ego-driven weatherman fiancé of Susan; and a deliciously villainous Rainn Wilson as Galaxhar the alien determined to take over Earth.
Superb 3-D effects aren’t overdone and add immeasurably to the ginormous fun of the film but even seeing it in theaters that only show it in regular 2-D doesn’t spoil the pure joy of this cartoonish War of the Worlds. Throw in parodies of every cheap '50s sci-fi movie you can think of and you have the ingredients for a silly monster mash sure to appeal to just about anyone who wants to laugh. Despite the impressive production elements it’s the smart and clever script that really sets it apart from its competitors — and that even includes the similar Monsters Inc. from Pixar.
Like any kid-oriented comic ‘toon today the action can be a bit too frenetic and Monsters vs. Aliens piles a lot of it on in its trim 95 minutes. Still the lovable characters carry the day and somehow make it all palatable.
When Susan now Ginormica brings her new friends home to meet her parents chaos ensues and so do the laughs. Also impressive are the large action scenes that make fine use of CGI animation breakthroughs.
BEST SUPPORTING BLOB:
It's easily the one-eyed lame-brained blue lug of a people hugger named B.O.B. perfectly matched to the talents of Rogen. He rolls away with the movie and inevitably the merchandise tie-ins.