Monthly Archives: January 2014
by Steve Habrat
The last time audiences spent time with director Alexander Payne, it was in 2011’s The Descendants, the heart-wrenching, Hawaii-set dramedy about a family facing the sudden and devastating loss of a family member. With The Descendants, Payne bluntly pointed out that even those who live in a constant sunny paradise and sport floral print shirts are not immune to the harsh blows that life can unexpectedly dish out. Two years later, Payne returns with Nebraska, another frank dramedy with a heavy lean on location. Shot in nostalgic black and white and set in the small, boarded-up Americana towns of the Midwest, Nebraska is a simplistic road movie about an elderly father and his patient son on their way to collect a million dollars that may or may not be real. Along their journey they drop into the father’s hometown, a bare strip of farm country that is aging right along with the born-and-raised citizens that still make up its population. With veteran actor Bruce Dern at the helm and comedian Will Forte riding shotgun, this soft-spoken little movie is unexpectedly hilarious and overwhelming sweet. It’s a snapshot of a meat-and-potatoes family brought together through one man’s senile belief and staunch determination. It’s also about digging up the past, taking a leisurely stroll down memory lane and fondly looking back at year’s past.
Nebraska introduces us to Woody Grant (played by Bruce Dern), an elderly man who receives a letter in the mail stating that he has won a million dollars. Bound and determined to collect his winnings, Woody begins walking from Billings, Montana to Lincoln, Nebraska. After being stopped on the side of the road by a police officer, Woody’s son, David (played by Will Forte), picks him up from the police station where he discovers that the million dollars that Woody believes he has won is actually just a scam to sell magazines. After David realizes that Woody isn’t going to give up trying to collect his prize money, David decides to drive him to the sweepstakes center in Lincoln so that he will understand that it is all a scam. This plan outrages David’s mother, Kate (played by June Squibb), and his brother, Ross (played by Bob Odenkirk), who strongly believe that David shouldn’t encourage his father’s hopes. Ignoring the protests, the two set out on a road trip that leads them back to Woody’s hometown of Hawthorne, Nebraska. Upon their arrival, David and Woody begin reconnecting with old friends and family members, but after word gets out about Woody’s sudden new fortune, they all quickly have their hands out for money.
For a good chunk of Nebraska, the story lingers around the peeling buildings and desolate stretches of Hawthorne, a place that appears to be slowly fading from the map. It’s a town that seen some excitement back in the good old days, but now, the memories that haunt the abandoned farmhouses and boarded-up businesses are all that are left. Our characters chat about distant friendships that faded, family members that have passed on, or old American cars that have been hauled off to the junkyard, the chatter stopping when talk shifts into the present. Now the wrinkly inhabitants flock to the local buffet where the main form of entertainment is bad karaoke sung out in flat tones. The big news for the day is Woody’s return and the rumored million dollars that he has won, no one really knowing for sure if it’s true. Still, that doesn’t stop the citizens from beaming, gossiping, and proclaiming that it’s the biggest thing to happen to Hawthorne in quite some time. Even the Hawthorne newspaper jumps at the chance of doing a piece on old Woody. When David tries to explain that his father hasn’t really won anything to one eager newspaper employee, they simply shrug their shoulders and say that they’ll just do a piece on the prodigal son’s triumphant return. This grasp on the past that the citizens of Hawthorne hold so dear is complimented by the black and white cinematography from Phedon Papamichael, who provides haunting shots of rusted out Americana, photographed with misty eyed nostalgia and twinkling memories known only to the character’s themselves.
And then we have veteran actor Bruce Dern, who gives an irritable and touching performance as prizewinner Woody Grant. With his shock of mad scientist hair and his drunken shuffle, Woody is a man on a mission, pausing only to have a few bottles of beer here and there. It’s clear that he is starting to slip mentally, although it’s implied that he has been a simple and gullible man his entire life. His delight over the winnings is truly lovable, even if we the audience know that there is no million dollar prize waiting for him in Lincoln. It also grows extremely difficult to watch old friends and family members try to milk money out of the poor man. It’s even worse because he has absolutely no idea they are trying to do it. While he is definitely overshadowed by Dern, former SNL comedian Will Forte does a fantastic job as David, Woody’s sweet and easy-going son who decides to let his father have his moment in the sun. June Squibb will have you doubled over in laughter as Kate, Woody’s gabbing wife who never misses an opportunity to rip him up one side and down the other. Always a woman to speak her mind, Squibb is a feisty blast, especially when she is visiting the graves of several friends and family members at a Hawthorne graveyard. Bob Odenkirk takes a minor role as Ross, David’s older brother who is fed up with Woody’s behavior and believes that they should be considering a home. Also on hand is Stacy Keach, another veteran actor who turns up as Ed Pegram, Woody’s old buddy who may not be as friendly as he first appears.
While Nebraska certainly has its fair share of leisurely moments, Payne turns up the hilarity level to high when he wants to. In the early scenes, the glimpses of Woody marching by the side of the road towards Lincoln will nab a chuckle and the constant verbal beatings that Woody is subjected to from Kate will have you doubled over. When the Grant’s make it to Hawthorne, the comedy really kicks into high gear as David mingles with his deadbeat cousins, Bart and Cole, and the rest of the family tries to awkwardly reconnect. In between the hearty laughs, Payne and screenwriter Bob Nelson delicately fill us in on Woody’s past. We learn he was a man of few words and that he had an ugly experience in the Korean War, but we learn that he would do everything he could for those he cared about, making him all the more lovable. Overall, Nebraska is a sparse and atmospheric story told with timeless care and comedic warmth. It puts up a defense with a dry sense of humor, but Payne isn’t afraid to reveal a vulnerable side, especially at the bittersweet climax. Though it may be shot in black and white, the film is given plenty of color from its quirky cast of characters, especially Dern’s career high turn as Woody. Nebraska is one of the finest films that 2013 has to offer.
by Steve Habrat
In 1966, Roger Corman’s American Internation Pictures (AIP) released The Wild Angels, an outlaw biker gang movie that gave birth to a brand new exploitation subgenre. With The Wild Angels a hit and biker culture breaking through into the media, AIP quickly started churning out more of these rough-and-tough biker films that featured up-and-coming stars like Peter Fonda, John Cassavete, Dennis Hopper, Jack Nicholson, Bruce Dern, and Larry Bishop. While Bishop never quite achieved the A-list status as some of the other actors that made appearances in these films, he remained a cult icon that obviously caught the eye of exploitation mega-fan Quentin Tarantino. In 2008, Tarantino encouraged Bishop to write, star, and direct a throwback to the outlaw biker films of the 60s and 70s, even offering to executive producer the picture if Bishop would agree to make it. The result of this collaboration is Hell Ride, a jumbled and awkward nod to the exploitation genre that gave Bishop his start. The only thing that keeps Hell Ride from being tossed into the junkyard is the presence of fellow genre stars Michael Madsen, David Carradine, and Dennis Hopper, who try their damndest to make sense of the script and add some extra slicked-back masculinity to all the blood, sex, and violence. It also slightly helps that the film boasts a fairly authentic late 60s/early 70s visual style and a gritty Ennio Morricone-esque score.
Hell Ride introduces us to Pistolero (played by Larry Bishop), the grizzled president of the motorcycle gang called the Victors. We learn that in 1976, Pistolero’s beautiful girlfriend, Cherokee Kisum (played by Julia Jones), was brutally murdered by the Deuce (played by David Carradine) and Billy Wings (played by Vinnie Jones), two high-ranking members of a rival motorcycle gang called the Six-Six-Six’ers. Many years pass and the Six-Six-Six’ers gang falls apart, but Pistolero still craves revenge. After a veteran member of the Victors is murdered in the same manner as Cherokee Kisum, Pistolero begins to suspect that the Six-Six-Six’ers are reforming and attempting to make a comeback. Seeing his chance to exact his revenge on the Six-Six-Six’ers, Pistolero rounds up the Gent (played by Michael Madsen) and Commanche (played by Eric Balfour), two fellow members of the Victors and close friends of the heartbroken president, to help him wipe the rival gang out once and for all. With several members of the Victors either switching sides or turning up dead, Pistolero races to track down the Decue and Bill Wings before they can reach him. In the process, Pistolero learns that Cherokee Kisum had some secrets of her own, and that one of his new gang members may have a connection to the slain woman.
If you’ve seen the trailer or glanced at the poster for Hell Ride, you’ve noticed that Tarantino’s name shows up in big bold text on both, making it seem like he played a major part in the film’s production. About five minutes into the actual film, you’ll realize that is far from the truth. Where Tarantino is capable of delivering a casual cool that seems effortless, Bishop’s tough-guy style just seems forced and uninspired—amazing considering that this guy’s career began in these types of macho outings. Visually, Bishop understands how to make the film feel like a forgotten exploitation film from the 70s. It switches from gritty black and white shots of leather-clad bad-asses rocketing down dusty highways to vibrant LSD trips out in the rocky deserts. Strewn throughout the retro visual style is a plethora of sex, drugs, roaring steel, and violence, all set to a Morricone-esque score that gives the film a slight spaghetti western feel. The orgies, beheadings, ambushes, and motorcycle porn all seem appropriate, especially since Bishop is trying to pay tribute to a hardened exploitation subgenre. But where he really looses his grip on the project is with the characters, convoluted plot, and the cringe-worthy dialogue. It’s especially painful because these guys are veterans of the B-movie circuit.
In addition to writing and directing Hell Ride, Bishop also leads a legendary cast deep into the sizzling desert. A good majority of Bishop’s performance finds him mumbling his dialogue, staring down his opponents over his slouching sunglasses, or squeezing girl’s butts in a lame attempt to show he’s a real lady-killer. Madsen brings his Elvis-like cool to the role of the Gent, but he struggles with flimsy dialogue and a lack of anything substantial to do aside from standing around. Balfour does a surprisingly decent job at trying to hang with these grizzled beefcakes, as his character is the only one with anything resembling depth. The legendary David Carradine’s is reduced to being strapped to a chair and carefully growling bland dialogue at Bishop. Dennis Hopper seems to be having a grand old time back on his hog, but weirdly, Bishop seems like he is constantly restraining him when he should be letting him go full crazy. Rounding out the cast is Vinnie Jones as the wildly profane Billy Wings, a ruthless villain that is largely absent until the final stretch. Overall, for all the talent involved with Hell Ride, the entire project comes off as cheap and amateurish, which is perplexing because it should have been a rock-solid, testosterone-fueled thrill ride. To make it worse, the plot is like a tangled ball of yarn that Bishop can’t even sort out. This rusty clunker would have been better suited as a brief three-minute faux trailer in Grindhouse. It would have been a hell of a lot more fun.
Hell Ride is available on Blu-ray and DVD.
by Steve Habrat
Way back in 2012, one of the first films that kicked off the summer movie season was director Peter Berg’s sci-fi Hasbro epic Battleship, which ended up being one of the biggest flops at the box office that summer. Whether you loved or loathed Berg’s aquatic aliens-vs.-humans blockbuster, it was clear that he is a very patriotic gentleman. A little over a year and a half later, Berg returns to the big screen with Lone Survivor, a breathtaking true war story that sheds the cartoonish Navy propaganda of Battleship and embraces a hair-raising grittiness that drops you right into the cold heart of combat. While Lone Survivor can be accused of bookending itself with the typical war movie sentiments (brotherly bonds, lump-in-the-throat jingoism), the film avoids clichéd mediocrity through the fluid chemistry between its hardened cast members, it’s pulse-pounding gunfights, and a shell-shocking brutality that leaves you sore and aching for hours after seeing it. More importantly, Berg works in a nerve-racking moral debate, which he uses to set the character’s fates into doomed motion.
Lone Survivor tells the true story of four Navy SEALs, Petty Officer Second Class Marcus Luttrell (played by Mark Wahlberg), Lieutenant Michael Murphy (played by Taylor Kitsch), Sonar Technician Matt Axelson (played by Ben Foster), and communications officer Danny Dietz (played by Emile Hirsch), who were sent into the rocky hills of Afghanistan to gather surveillance on Ahmad Shahd, a high-ranking member of the Taliban. The SEALs set up camp just outside the village where Shahd is believed to be hiding, but their position is soon compromised after three goat herders happen to stumble upon their position. The SEALs take the goat herders prisoner, but after a lengthy debate about whether to kill them or let them go, the SEALs decide to let them go back to their village. But soon after being letting them go, the goat herders quickly report the run-in to Shahd, who orders a small army of Taliban soldiers to take to the hills and smoke out the Americans. With poor radio connection and no way out, the outnumbered SEALs are forced to engage the charging Taliban forces in a gunfight until they are able to radio the nearby American base for extraction or reinforcements.
Given the film’s title, it is no secret that only one soldier (Luttrell) makes it out alive from this confrontation. Still, Berg ups the film’s tension considerably, and he applies a bruising realism that practically blasts you from your chair. Berg begins the film with stock footage of soldiers in basic training, reconfiguring themselves to be able to endure the intensities of war and the unforgiving environments where they may fight. It’s pretty captivating stuff, and you can’t help but admire these men for doing this, but when our four protagonists are wedged into the rocky Afghani terrain and taking bullets from all angles, it’s truly difficult to imagine that the wounds suffered are met simply with loud groans and a quick grits of their teeth. Rest assured that realism wins out, especially when a heavily wounded Dietz goes into shock after taking a few bullets and having several of his fingers shot off. And then there is the violence itself, which ranges from a nauseating decapitation early on, and then culminates in compound fractures, shrapnel protruding from legs, and spraying gunshot wounds that are executed with exploding squibs and red corn syrup, which gives the violence an extra punch that isn’t shaken off easily. What truly is astonishing is that these four men were able to keep their composures, even after tumbling down rocky cliffs and clearly suffering unimaginable internal injuries that must have been excruciating.
Berg’s swipes at realism are also aided by the performances from Wahlberg, Kitsch, Foster, and Hirsch, who all seem to instantly click as a unit. Over the past several years, Wahlberg has worked hard to establish himself as a serious actor, and with Lone Survivor, he continues to earn our respect. His performance as Luttrell is one that the audience really feels as he drags himself over jagged rock and collapses in a nearby stream. Kitsch, who was the star of Berg’s Battleship, gives an authoritative performance as Mike Murphy, the group’s leader who has the final say over how to deal with their grim situation. Foster, an actor who has always remained shy of the mainstream, contributes an impressive performance as Axelson, a man who was willing to do whatever it took to keep his fellow brothers alive. Then we have Hirsch as Dietz, the boyish communications officer that slips into shock after having several of his fingers taken off by whizzing bullets. When they are all together, the group really makes the brotherly camaraderie seem natural, even if they sometimes flirt with burly clichés. Rounding out the main cast is Eric Bana as Lieutenant Commander Erik S. Kristensen, who attempted to lead the rushed rescue mission that ended tragically. Also on board is Ali Suliman as Mohammad Gulab, the kindly Afghani villager who was willing to do whatever he could to protect the horribly injured Luttrell.
While Lone Survivor is certainly gripping and unforgiving, the film isn’t completely immune to a few creeping clichés. There are the expected slow-motion acts of heroism that coax tears to the eyes of the viewer, and the brotherly bonds, while convincing, are laid on pretty thick. Clichés aside, Lone Survivor’s real problem shows up when the guns start blazing and the grenades start exploding. The action looks, sounds, and flows spectacularly, but Berg allows it to overshadow his human subjects, which results in speculation that the filmmakers may have cared more about making an action picture rather than remaining fixed on the men who fell in this fight. Still, these complaints are minor, and they are neutralized by the moral debate at the film’s turning point. Watching the SEALs deliberate the fates of the three goat herders—a group that consists of an elderly man, a teenager, and a young boy—is something that will really ignite conversation when the credits roll. Overall, stretches of Lone Survivor will feel slightly familiar to most audience members, but Berg and his cast do a fine job at paying tribute to the men who lost their lives during Operation Red Wings. It’s a tribute made with scorching realism and teary-eyed patriotism, sending you away with a renewed appreciation for those who lay down their lives for freedom.
Here are the nominees for the 86th annual Academy Awards. The Oscars air March 2nd. Feel free to leave your thoughts in the comments column.
“12 Years a Slave”
“Dallas Buyers Club”
“The Wolf of Wall Street”
David O. Russell, “American Hustle”
Alfonso Cuaron, “Gravity”
Alexander Payne, “Nebraska”
Steve McQueen, “12 Years a Slave”
Martin Scorsese, “The Wolf of Wall Street”
Christian Bale, “American Hustle”
Bruce Dern, “Nebraska”
Leonardo DiCaprio, “The Wolf of Wall Street”
Chiwetel Ejiofor, “12 Years a Slave”
Matthew McConaughey, “Dallas Buyers Club”
Amy Adams, “American Hustle”
Cate Blanchett, “Blue Jasmine”
Sandra Bullock, “Gravity”
Judi Dench, “Philomena”
Meryl Streep, “August: Osage County”
BEST ORIGINAL SCREENPLAY
“American Hustle” – Written by Eric Warren Singer and David O. Russell
“Blue Jasmine” – Written by Woody Allen
“Her” – Written by Spike Jonze
“Nebraska” – Written by Bob Nelson
“Dallas Buyers Club” – Written by Craig Borten & Melisa Wallack
BEST ADAPTED SCREENPLAY
“Before Midnight” – Written by Richard Linklater, Julie Delpy, Ethan Hawke
“Captain Phillips” – Screenplay by Billy Ray
“Philomena” – Screenplay by Steve Coogan and Jeff Pope
“12 Years a Slave” – Screenplay by John Ridley
“The Wolf of Wall Street” – Screenplay by Terence Winter
BEST SUPPORTING ACTRESS
Lupita Nyong’o, “12 Years a Slave”
Jennifer Lawrence, “American Hustle”
June Squibb, “Nebraska”
Julia Roberts, “August: Osage County”
Sally Hawkins, “Blue Jasmine”
BEST SUPPORTING ACTOR
Barkhad Abdi, “Captain Phillips”
Bradley Cooper, “American Hustle”
Michael Fassbender, “12 Years a Slave”
Jonah Hill, “The Wolf of Wall Street”
Jared Leto, “Dallas Buyers Club”
BEST ANIMATED FILM
“Despicable Me 2”
“Ernest & Celestine”
“The Wind Rises”
“Inside Llewyn Davis”
BEST COSTUME DESIGN
Michael Wilkinson, “American Hustle”
William Chang Suk Ping, “The Grandmaster”
Catherine Martin, “The Great Gatsby”
Michael O’Connor, “The Invisible Woman”
Patricia Norris, “12 Years a Slave”
BEST DOCUMENTARY FEATURE
“The Act of Killing”Joshua Oppenheimer and Signe Byrge Sørensen
“Cutie and the Boxer” Zachary Heinzerling and Lydia Dean Pilcher
“Dirty Wars” Richard Rowley and Jeremy Scahill
“The Square” Jehane Noujaim and Karim Amer
“20 Feet from Stardom” Nominees to be determined
BEST DOCUMENTARY SHORT SUBJECT
“CaveDigger” Jeffrey Karoff
“Facing Fear” Jason Cohen
“Karama Has No Walls” Sara Ishaq
“The Lady in Number 6: Music Saved My Life” Malcolm Clarke and Nicholas Reed
“Prison Terminal: The Last Days of Private Jack Hall” Edgar Barens
BEST FILM EDITING
“American Hustle” Jay Cassidy, Crispin Struthers and Alan Baumgarten
“Captain Phillips” Christopher Rouse
“Dallas Buyers Club” John Mac McMurphy and Martin Pensa
“Gravity” Alfonso Cuarón and Mark Sanger
“12 Years a Slave” Joe Walker
BEST FOREIGN LANGUAGE FILM
“The Broken Circle Breakdown” Belgium
“The Great Beauty” Italy
“The Hunt” Denmark
“The Missing Picture” Cambodia
BEST MAKEUP AND HAIRSTYLING
“Dallas Buyers Club” Adruitha Lee and Robin Mathews
“Jackass Presents: Bad Grandpa” Stephen Prouty
“The Lone Ranger” Joel Harlow and Gloria Pasqua-Casny
BEST ORIGINAL SCORE
John Williams, “The Book Thief”
Steven Price, “Gravity”
William Butler and Owen Pallett, “Her”
Alexandre Desplat, “Philomena”
Thomas Newman, “Saving Mr. Banks”
BEST ORIGINAL SONG
“Alone Yet Not Alone” from “Alone Yet Not Alone”
Music by Bruce Broughton; Lyric by Dennis Spiegel
“Happy” from “Despicable Me 2”
Music and Lyric by Pharrell Williams
“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
“The Moon Song” from “Her”
Music by Karen O; Lyric by Karen O and Spike Jonze
“Ordinary Love” from “Mandela: Long Walk to Freedom”
Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen; Lyric by Paul Hewson
BEST PRODUCTION DESIGN
Production Design: Judy Becker; Set Decoration: Heather Loeffler
Production Design: Andy Nicholson; Set Decoration: Rosie Goodwin and Joanne Woollard
“The Great Gatsby”
Production Design: Catherine Martin; Set Decoration: Beverley Dunn
Production Design: K.K. Barrett; Set Decoration: Gene Serdena
“12 Years a Slave”
Production Design: Adam Stockhausen; Set Decoration: Alice Baker
BEST ANIMATED SHORT FILM
“Feral” Daniel Sousa and Dan Golden
“Get a Horse!” Lauren MacMullan and Dorothy McKim
“Mr. Hublot” Laurent Witz and Alexandre Espigares
“Possessions” Shuhei Morita
“Room on the Broom” Max Lang and Jan Lachauer
BEST LIVE ACTION SHORT FILM
“Aquel No Era Yo (That Wasn’t Me)” Esteban Crespo
“Avant Que De Tout Perdre (Just before Losing Everything)” Xavier Legrand and Alexandre Gavras
“Helium” Anders Walter and Kim Magnusson
“Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?)” Selma Vilhunen and Kirsikka Saari
“The Voorman Problem” Mark Gill and Baldwin Li
BEST SOUND EDITING
“All Is Lost” Steve Boeddeker and Richard Hymns
“Captain Phillips” Oliver Tarney
“Gravity” Glenn Freemantle
“The Hobbit: The Desolation of Smaug” Brent Burge
“Lone Survivor” Wylie Stateman
BEST SOUND MIXING
“Captain Phillips” Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro
“Gravity” Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro
“The Hobbit: The Desolation of Smaug” Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson
“Inside Llewyn Davis” Skip Lievsay, Greg Orloff and Peter F. Kurland
“Lone Survivor” Andy Koyama, Beau Borders and David Brownlow
BEST VISUAL EFFECTS
“Gravity” Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould
“The Hobbit: The Desolation of Smaug” Joe Letteri, Eric Saindon, David Clayton and Eric Reynolds
“Iron Man 3” Christopher Townsend, Guy Williams, Erik Nash and Dan Sudick
“The Lone Ranger” Tim Alexander, Gary Brozenich, Edson Williams and John Frazier
“Star Trek Into Darkness” Roger Guyett, Patrick Tubach, Ben Grossmann and Burt Dalton
by Steve Habrat
Ever since his surreal 2009 children’s fantasy Where the Wild Things Are, indie director Spike Jonze has remained relatively low-key. In the years following that wildly popular screen adaptation of Maurice Sendak’s beloved tale, Jonze has filled his time with a few acting gigs, a skateboarding video or two, a handful of music videos, and some writing/producing duties. After four long years, Jonze finally returns as director for Her, the celebrated futuristic love story that has been gaining quite a bit of momentum this awards season. Also written by Jonze, Her is a film that is alive with vision and originality, a resonant love-story for a world that has developed an alarming addiction to the glow of their smartphones, tablets, and laptop computers. While certainly a beautiful film with a truly fascinating premise, Her, like Jonze’s last feature film, begins to drone on the viewer. The initial “wow” factor only carries it so far before it begins to grow repetitious, never really knowing where it should cut itself off. Luckily, your growing loss of electronic enchantment will be rescued by star Joaquin Phoenix, who gives an outstanding performance as the heartbroken writer who falls head over heels for his brand new operating system.
Her picks up in futuristic Los Angeles and introduces us to Theodore Twombly (played by Joaquin Phoenix), a lonely man nursing a broken heart over the recent separation from his wife, Catherine (played by Rooney Mara). By day, Theodore works as a writer for a company that composes personal letters for those who don’t quite know what to say, and by night, he sulks home to play video games or fidget around restlessly in his bed. One day, Theodore decides to purchase a new artificially intelligent operating system (voiced by Scarlett Johansson) that is capable of interacting just like a regular human being. Impressed by the operating system’s abilities, Theodore strikes up a casual friendship with the new AI, sharing tidbits of information regarding his messy separation from Catherine. After a botched blind date with a beautiful woman (played by Olivia Wilde), Theodore finds himself romantically drawn to the operating system, which also appears to have developed romantic feelings for him. With his newfound love and the help of his close friend Amy (played by Amy Adams), Theodore begins pulling himself out of his slump, but the challenges of dating an operating system arise and put the relationship to the test.
If you’ve ever imagined what it might be like if Apple started making live action movies, Her gives you a pretty good indication of what the computer company’s type of movie might be like. Jonze fills the screen with soft pastel colors and sleek views of a futuristic Los Angeles—a squeaky clean metropolis where everyone shuffles about with tiny white earpieces stuffed in their ears and the glow of a smartphone screen reflecting off their down pointing faces. The overhead shots of the city are so crisp and clear that they would be perfect as the screensaver on your MacBook Pro with retina display. It’s all absolutely gorgeous to take in, even if it is glaringly obvious at times that this futuristic American city is actually just a shimmering Shanghai. On its own, the visual lyricism of Her consistently keeps your eyes wide—it’s a digital dream world that would have made Steve Jobs drool and storm off to his Apple boardroom to demand that his staff get to work on updating Siri. While Jonze keeps a firm grip here, his story, which I should reiterate is extremely original and inspired, is so thorough in the way it explores a relationship that it nearly ceases to fill us with wonder and instead begins to mildly drone on the viewer. It’s perfectly fine that he wanted to tell this digital romance in a convincing and personal manner, but the ups and downs of Theo and Samantha’s relationship begin to grow repetitive and exhausting, numbing us slightly to the couple’s conclusion.
Though you may drift out a bit, star Joaquin Phoenix gives Her a strong emotional pull that yanks you back into the picture. Phoenix is a raw nerve as Theo, our sensitive and aching hero who is adrift in this digital world. He sulks from the office with his frown hidden under a mustache, seeking escape from his pain in an encompassing video game he obsesses over. When Samantha asks if he wants a pair of emails regarding his divorce read to him, he gives a quivery objection and fights back tears. When Samantha begins to pull him out of his hole of sadness, you’ll smile over his newfound delight as he dances through a bustling fair. Phoenix gives Theo such tenderness and vulnerability that you can’t help but root for this unusual romance to really make it, even if there are points where it makes you squirm from its awkwardness. Guiding Theo out of this rut is Johansson’s husky voice, which she lends so wonderfully to Samantha, the operating system that has won Theo’s heart. While we never see her, Johansson is able to convey so much emotion that you’d swear she was ready to manifest right next to our hero. As far as the supporting cast goes, Amy Adams gives another spectacular performance as Amy, Theo’s understanding best friend who is also facing heartbreak. Rooney Mara is prickly as Catherine, Theo’s childhood sweetheart who has shattered his heart into a million little pieces. Olivia Wilde rounds out the cast in a brief role as a sexy blind date who quickly sours to the sadsack Theo.
While the stunning cinematography and the candid performances are truly special, the real beauty of Her lies within the plausibility of its script. With the way that technology has been rapidly advancing over the past several years, it isn’t that far-fetched to think that operating systems could be this advanced ten to twenty years down the line. The smartphones now come equipped with personal assistants that can look up internet trivia, tell jokes, send text messages, bring up emails, and make phone calls all at your request. This story also speaks to the creativity that lies within Jonze, who wrote the script and just nabbed a Golden Globe for his work. It truly is remarkable that Hollywood gave the script a chance considering that most romantic dramas have evolved only to the point of having unhappy endings where boy doesn’t necessarily end up with girl. Overall, while the imagination, vision, and performances are all magnificent, Her could have done with a software update to clear out a few bugs. I understand that Jonze wanted to really sink his teeth into this peculiar romance and envision it from every angle possible, but there are stretches of dead space that allow the magic to seep out.