The Reel Deal » Scarlett Johansson

Movie Review: Her

ian0592 — Mon, 06 Jan 2014 16:56:00 +0000

Image via Huffington Post.

Yes, “Her” is about a man who falls in love with his computer. But eventually, the fact that the love interest in question is a computer will not faze you at all. That is the magic of “Her.”

“Her” is a little bit of everything. For anyone looking for a good laugh, a tear-jerking romance, and a science fiction fable all in one, “Her” is the perfect solution. The film takes place during an unspecified date in the future, though time doesn’t exactly matter. This is, however, one of the more accurate imaginings of the future on film. There are no flying cars or hoverboards here. “Her” is on par with “Children of Men,” minus all of the random acts of violence.

Maybe there isn’t much violence because, in this vision of the future, nobody is that aggressive towards each other. In fact, most people do not express many emotions at all, as most of them are plugged in at all times through an earpiece that is much less dorky looking than a Bluetooth. Nobody stares down at tiny phone screens anymore. Instead, they inject the almighty Interwebs right into their brains. People still enjoy life and love each other, but everyone seems a little more anti-social. The film is set in Los Angeles, which has since become a metropolis that resembles Hong Kong and Shanghai more than modern L.A.

Theodore (Joaquin Phoenix) is just another product of this society. He is a writer who writes love letters for other people writing for their loved ones. He just always has the right words to put on paper. Some people say that the key to being a good writer is to be able to write in other people’s voices, and Theodore can write a love note from just about anyone’s perspective. Yet, this seeming romantic can’t get his own love life together, as he is torn apart by the heartbreak of his recent divorce. With a mustache and a smile just that is just slightly off-putting, Phoenix plays creepy in the most lovable way possible. At one point, a girl (Olivia Wilde) whom he goes on a date with describes him as a “puppy.” He is more like a puppy that won’t stop humping your leg.

In his loneliness, Theodore decides to buy himself a new OS (Operating System) that is smarter than your typical Siri. This OS is a new brand of artificial intelligence that evolves and changes just like any human. You can have a conversation with it beyond simple commands. Theodore’s OS names herself Samantha (Scarlett Johansson). Samantha is a little bit nosy, but that is only because she is curious about the world. She is also funny, intelligent, and a great listener. She is the perfect antidote to Theodore’s toxic love life. The two slowly fall in love, even if Theodore “doesn’t want anything too serious.”

If one were to just read the basic synopsis of “Her,” they might think it is the weirdest film imaginable. Anyone who still thinks that doesn’t deserve what the film has to offer. “Her” is so powerful partly because of how non-judgmental it is towards it characters. For instance, when Theodore tells his neighbor Amy (Amy Adams) that he has fallen in love with his OS, she tells him that she also has a close friendship with her OS. “Her” is a film where humanity and technology go hand-in-hand, because there isn’t that much of a difference between humans and machines anymore.

Most of the film’s kind nature lies in Theodore and Samantha’s relationship. While Samantha is never shown in human form, she feels real, even if it is only her voice that is present. In fact, Theodore and Samantha’s relationship is the most functional love presented in the entire film. That Samantha is not actually human ends up feeling inconsequential. It is what these two teach each other, and how they impact each other’s lives, that is the most important part here.

It is not just Theodore and Samantha who are impacted here. At one point, a side character comes in between their relationship because she just wants to be a part of the special bond that the two of them share. That is exactly how I felt. When the two of them are together, I get the sense that they have a shared worldview that few others possess. “Her” allows you to fully explore a relationship during both its best and worst hours. Writer and director Spike Jonze graciously allows us to be a part of those intimate moments that we necessarily shouldn’t be allowed to be a part of.

This is all thanks to Spike Jonze, who proves that he can direct something great even when it isn’t based off of one of Charlie Kaufman’s crazy ideas. “Her” is more sincere than meta, but it is also filled with some crazy yet brilliant ideas. Jonze has a real talent for tragicomedy. “Her” would have been pretentious and heavy-handed under anybody else’s care. However, Jonze knows how to balance sincere and silly. At one moment, the characters are having a discussion about metaphysics, and the next they are trying to figure out what it would be like to have butt sex with your elbow (long story). Both of these moments are actually thoughtful for varying reasons.

It might be a miracle that “Her” turns out to be as good as it is, given the very thin tight rope that it walks on. It attempts to be more a reflection on our times than an indictment of them, and in that it says more about the nature of humanity and artificial intelligence than most films that explore the same subject. Bad versions of “Her” have been made before. Luckily, we do not have to watch another “Bicentennial Man” or “A.I.” Instead, we get to witness “Harold and Maude” set in the future.

Brain Farts From The Edge

I want to live in the Los Angeles of “Her.” It looks more exciting, more like a real city, and it has trains that don’t look like homeless shelters.
This is also the most beautiful portrayal of L.A. I’ve seen in a film since “500 Days of Summer.” “Her” goes beyond Sunset Boulevard and shows the stunning nuances of the city that often go unnoticed.
Arcade Fire did the music for this. Spike Jonze directed it. Scarlett Johansson voices a computer in it. This is one hipster paradise that I want to be a part of.
Were they really in love? I’m still debating.
Winning Casting Choice: Kristen Wiig as SexyKitten.
Only weak part of the film: Theodore’s vacation to a snowy area slows down some of the amazing momentum that is built up in the film’s first half. Luckily, it eventually gains it back.
I’m pretty sure that foul-mouthed alien boy in Theodore’s video game would have a great time in Grand Theft Auto.
Everything in this future is so fully realized. There is definitely an understanding of what the future will look like, from the inside and out. Pay attention to the pants that everyone wears, which resembles a slightly fancier pair of sweatpants. For the record, I would totally wear fancy sweatpants.
Yes, there is a sex scene. You won’t be prepared for it, as it is a spontaneous moment. Jonze handles it tastefully. It feels meaningful as opposed to ridiculous.

Movie Review The Avengers

ian0592 — Fri, 11 May 2012 22:36:00 +0000

At one point, Nick Fury (Samuel L. Jackson) describes what is basically the film’s premise, in which a bunch of superheroes are put into a room in order to see what happens. What he just described could also be a pitch for a new MTV reality show called “Real World: Superheroes.”

At its worst, “The Avengers” is cheesy and derivative. At its best, it is fresh, funny, and exhilarating. There was never one moment in which I wasn’t in some form of awe at what was occurring on screen.

Before this review goes any further, I will admit that I am only a half-committed comic book fan. I read “X-Men” and “Spider-Man” comics pretty passionately when I was younger. I relish the new “Batman” movies as well as the first “Iron Man.” Yet, I never saw the “Hulk” reboot, “Captain America,” or “Thor.” I lost some faith in movies based on comic books after seeing “Iron Man 2″ and witnessing the “Spider-Man” movies go under. I will be as accurate as I can be in this review. “The Avengers” doesn’t necessarily make me want a slew of new comic book movies in the future, but it is certainly a worthy addition to the multimedia-spanning genre.

“The Avengers” will leave those who missed the last few big comic book adaptations scratching their heads. “The Avengers” allows us to catch up on bigger details, but it expects the audience to come in already knowing about the character and the worlds they inhabit. The truly amazing thing about Marvel Comics is the way that characters from separate stories can inhabit the same world. Over the years, each movie has built up to a sort of common universe usually only seen in Quentin Tarantino movies. However, each new entry into the universe should be able to be enjoyed even through a fresh pair of eyes.

“The Avengers” are the superhero dream team, “The Westminster Dog Show” of superheroes, as Roger Ebert described it. With Earth under threat, Nick Fury (Samuel L. Jackson) calls seven of the most qualified superheroes alive. There’s Natasha Romanoff a.k.a. The Black Widow (Scarlett Johansson), who shares her namesake’s stealth and deadliness. However, her greatest skill is the ability to get information out of someone without actually interrogating them. Captain America (Chris Evans, or the secret scene stealer of “Scott Pilgrim vs. the World”) somehow ended up in the future and is now adjusting to life in the present. Thor (Chris Hemsworth) came down from whatever planet he’s from. Hawkeye (Jeremy Renner), well, I don’t really know much about him. he’s a skilled archer.

But there are two superheroes who’s backstories I actually know about. Tony Stark a.ka. Iron Man (Robert Downey Jr.) moved bases to New York City with the innovative Stark Tower. He’s still as cheeky and pompous as ever, with most of his dialogue consisting of “okay, [insert character from pop culture that looks like Thor, Hulk, etc.]!” It gets a little annoying after a while. And then there’s Bruce Banner a.k.a. The Hulk (Mark Ruffalo). Banner has been traveling the world for some time, trying to find ways to keep his rage from getting the best of him. Hollywood finally solved its Hulk problem with Ruffalo. This is the most entertaining and personable Hulk yet. That’s probably because a Hulk who smashes things is more entertaining than an existential and moody Hulk.

Through a series of clunky lines that are supposed to come off as cool, we learn that Loki (Tom Hiddleston) wants to take over the world. He wants to teach humans a lesson [Editor's Note: That's why you always leave a note] that freedom is an illusion and Loki is a boot and humans are ants. Until Nick Fury points out that Loki is actually the ant and The Avengers are the boot. See what they did there? Just about every other character will somehow repeat that line throughout the movie.

In order to defend the world from Loki and the mysterious energy he is using against Earth, Fury and Phil Coulson (Clark Gregg) assemble a team of heroes whose abilities can help end this mess. It never feels like The Avengers are just thrown in together. Each member (with the exception for Hawkeye, the least developed of them) feels like they are there for a reason. On the scale of “The Magnificent Seven” to “Some Terrible Standard Blockbuster,” the assembling of the team sequence ranks out about a 6.

Let’s Go to the Mall!

“The Avengers” is directed by Joss Whedon, one of the gods of Comic Con. Among many achievements, Whedon is responsible for “Buffy the Vampire Slayer” and “Firefly.” The latter is one of the best modern sci-fi television shows. As director, Whedon treats the Marvel universe with love and respect, and he shows his knowledge of the mythology. Yet, in both writing and directing, he adds a self-aware nature which proves at times to be the movie’s saving grace. However, it’s strongest point is the visuals, which often resemble the panels of a comic book coming to life.

While I am sure Mr. Whedon and the rest of the writing staff put a lot of time into crafting this story, but the writing proves to be the biggest downfall of “The Avengers.” While the writing doesn’t seem to be the biggest draw of this movie, or the reason that most people will see it, the clunkiness of some of the dialogue does have an impact. Imagine reading a comic in which the dialogue bubbles sound downright terrible. It wouldn’t be readable. Some of the movie’s dialogue should have been given a closer listen before it was filmed.

“The Avengers” will make a lot of fans of the previous comics and movies very happy. However, it may leave others confused. Black Widow and The Hulk are the most fun to watch, because Black Widow is convincingly intelligent and The Hulk smashes things just as The Hulk is supposed to do. Yes, it is awesome.

After “The Avengers” ended, the first comment I had was about the writing. My friend argued that nobody is really coming to see this movie for the writing. In a way, he might be right. But no matter what, everyone is coming to see a movie for the way it is written, and the entertainment value is hinged on the script. Obviously, the world the Avengers occupy is not a real one, but it still must seem plausible during the entire viewing experience.

For example, The Hulk has been praised widely, but there is a flaw in him. At first, Banner does his best to never get angry and when he does, he has absolutely no control over what he does as The Hulk. Suddenly, Banner says “I’m always angry” and immediately turns into The Hulk and whilst The Hulk, he shows emotional change and even the ability to have a conversation. This goes against the rules set up at the beginning in an unexplained way and therefore, took me out of the world.

Now that “The Avengers” has been out for a week, this can serve as both a review and a reflection, because I can’t really encourage people to see or not see it now that it’s already grossed over $200 million. With a 93% on Rotten Tomatoes, “The Avengers” has been labeled by most critics as an ideal summer blockbuster. While it is definitely a very good one, that does not excuse its flaws. I wish the movie was clearer to those who aren’t already so aware of the universe, and I wish it didn’t try to resolve so many plot lines, and fight so many villains at the end. “The Avengers” might be memorable now but once “Prometheus” and “The Dark Knight Rises” roll around, the “ideal summer blockbuster” will be truly defined.

Movie Review: The Prestige

ian0592 — Tue, 11 Jan 2011 05:32:00 +0000

Only Christopher Nolan could turn something dumb into something smart, and something smart into something artistic. There have been a lot of movies made about magicians, but none quite like this. “The Prestige” makes magic seem real, and it portrays the ways to obtain it as truly genius.

“The Prestige” follows the same vain as films such as “Sunset Boulevard” and “American Beauty” and uses a narrator who speaks from beyond the grave. Robert Angier (Hugh Jackman), an American magician, begins the film by being murdered by rival British magician Alfred Borden (Christian Bale).

From there on, the film flashes between many different points in time. All of the jealousy and obsession between the rivals is revealed to show how it all leads up to the film’s deadly conclusion. If you think I’ve given away the whole plot just because I revealed the ending, you don’t even know the half of it.

“The Prestige” is the maximum potential greatness that “Inception” could’ve been if it had a stronger screenplay. While “The Prestige” might not have had the budget or effects of “Inception,” it is an underrated gem that outshines it simply for its story.

Writing is a small factor that matters much more than most people realize. “The Prestige” has just about as many twists and complicated layers as “Inception,” yet it handles them in a much clearer way. “Inception” was like a puzzle where you were given the pieces, but had no clue what they were supposed to create. “The Prestige” is like a puzzle where you know what it wants to create, you just have to figure out how to piece it together. This is not meant to speak ill of “Inception,” simply to try and understand why “The Prestige” fell so under the radar.

Like the characters in every single one of his films, Nolan is something of an obsessive. That helps give way to his strikingly accurate image of England in the 1800s. He also obsessively strives to make magic and the world of magicians not just performance, but art. Nolan puts the magic back into magic, which was taken away intentionally by Gob Bluth in “Arrested Development” and unintentionally by “The Illusionist.”

In the world of “The Prestige,” magic doesn’t just involve a straight face; it requires the magician to be intelligent, innovative, and artful. Magic tricks should actually be magical. Although in this world, some of it could actually be real.

As for the acting, Jackman shows he is not quite as world class as some of his co-stars, but he is certainly trying his best. Bale meanwhile, is as wildly spot-on as always. Even in moments that seem genuine, he is always projecting a dark underside that is just waiting to be revealed at every moment. That is what truly makes Bale such a great actor: his unpredictability.

Nolan favorite Michael Caine also starts in “The Prestige” and for the first time in years, he plays a large, incredibly vital part of a story. While he usually plays the nice old mentor who helps the hero out, in “The Prestige,” his role is less good and much more ambiguous. None of the characters in the movie would function without him. Also, for the sake of getting my hits up on Google, I thought I’d mention that Scarlett Johansson is also in this movie.

“The Prestige” reminded me of the recent “Black Swan,” mainly in its final twist. Like “Black Swan,” it pulled off an ending that could’ve been guessed and still makes it both shocking and exciting. Even if an end twist is obvious, it can always be good as long as the filmmaker isn’t pretentious about it.

Some might call Nolan a modern day Spielberg for his ability to convert smart ideas in huge blockbusters. “The Prestige,” meanwhile, is Nolan at his most Hitchcockian. Everything about it from the perils of obsession to the way the twists and thrills are laid out would make the British master of suspense proud.

“The Prestige” takes a genre that was stretched to its end and makes it fresh and captivating again. “The Prestige” is the best kind of psychological thriller: it actually makes you use your brain to enjoy it.

If You Liked This Movie, You’ll Also Like: Black Swan, Fight Club, Inception, Memento, Moon, There Will Be Blood, Vertigo