Warner Bros. Pictures | Release Date: December 18, 2013 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
43
Mixed:
4
Negative:
0
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Critic Reviews
It is a love story. Also a profoundly metaphysical meditation on what it means to be human. Also one of the more touchingly relevant movies to the ways we actually live and may soon live. Oh, and the year’s best film, or at least the one that may stick with you until its story line comes true.
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The wistfulness in this movie is large-souled. Theodore may worry that his love for Samantha makes him a freak, but Amy knows that “anybody who loves is a freak.” All this may sound touchy-feely in the worst way, but Jonze is trying to get at how we seek romantic connection in this brave (or not so brave) new world. Like Theodore, he risks looking foolish.
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What begins like an arrested adolescent dream soon blossoms into Jonze’s richest and most emotionally mature work to date, burrowing deep into the give and take of relationships, the dawning of middle-aged ennui, and that eternal dilemma shared by both man and machine: the struggle to know one’s own true self.
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Far from taking the comfortable approach as yet another cautionary sci-fi tale of technology run amok, Her isn’t interested in holding a dystopic mirror up to society. Jonze instead posits a wonderfully original alternative to Skynet and the Matrix—in the future, the first self-aware A.I. won’t destroy the world, but it may just break your heart.
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The PlaylistOct 12, 2013
If in previous films "Adaptation" and "Being John Malkovich" Jonze seemed a little squirmy about sex, his treatment here is fully adult and keenly sensitive to the complexities of sexual intimacy – how it relates to emotional intimacy, whether or not a flesh-and-blood body is required to achieve it.
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Phoenix, for long scenes, is onscreen by himself, lost in his thoughts and those of the operating system moulded to fit his psyche. With his wounded awkwardness and boyish giggles, he seems authentically vulnerable, but the character’s emotionally arrested development also begins to weigh the film down.
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As the relationship between Theodore and Samantha evolves, it hews too closely to the expected arc of a romantic drama. In a desire to show how such a pairing could produce the same joys, sorrows, jealousies and insecurities as a human-to-human one, the movie edges close to parody, which it doesn't want to be.
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The GuardianFeb 18, 2014
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