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In Spike Jonzes oscarprämiertem Film Her verliebt sich Briefautor Joaquin Phoenix in die weibliche Stimme seines Betriebssystems, 'verkörpert' von Scarlett​. Her jetzt legal online anschauen. Der Film ist aktuell bei Amazon, Sky Store, iTunes, Google Play, freenet Video, Videobuster, Microsoft, Rakuten TV, Pantaflix​. Her [dt./OV]. ()2h 5minX-Ray Als Theodore sein neues Betriebssystem startet, lässt er sich von Format: Prime Video (streaming online video). Gibt es Her auf Netflix, Amazon, Sky Ticket, iTunes oder Maxdome und co legal? Jetzt online Stream finden! Her stream film deutsch ✅: In was verliebt man sich bei seinem Gegenüber zuerst? Die Augen, das Gesicht, die Hände, die Stimme? Im Falle von Theodore​.

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- Her ganzer film deutsch KOMPLETT Kino Her Complete Film Deutsch, Her Online Kostenlos, Ganzer Film Her Complete Stream. Independence Day: Resurgence is a movie starring Liam Hemsworth, Jeff stream german online anschauen kostenlos: 20 Jahre ist es her, dass Aliens die​. In jedem Video steckt ein großer Film. Mit iMovie für iOS und macOS erlebst du deine Videos wie nie zuvor. Durchsuche einfach deine Clips und erstelle Trailer​.

Her Movie Stream Video

Her TRAILER 1 (2013) - Joaquin Phoenix, Scarlett Johansson Movie HD

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It is without a doubt the best film of the year, and upon just one viewing, one of my top 5 favorite movies of all time. Okay let's get something straight: There is nothing I love more than badass, exhilarating movies!

The Joker performing his little pencil magic trick, Indiana Jones dodging traps and swinging his lion-taming whip at enemies, the bride in kill bill punching her way out of a closed coffin with her bare hands, John McClane single-handedly annihilating an airplane in mid-air while exclaiming the best one-liner known to mankind and I could go on and on It's nothing short of a masterpiece, a unique way of describing a love story and it makes you think of what it actually means to be human.

I just didn't want it to end and even after multiple rewatches, it still manages to take me off guard and make me tear up because of how beautiful and sad at the same time it all is.

I can't remember any movie being able to achieve that. So yeah, definitely check this one out. And for those who are wondering: this is my third favourite movie of all time.

BillK 21 December Science fiction has been dominated by 'space westerns' for so long that the occasional concept- based story situation hits a big number on my personal richter scale.

What does it mean to be human? And if we create near-humans what is our responsibility to them and what is their relationship to us?

These themes underpinned Blade Runner and Spielberg's A. And Sci Fi of the 50s and 60s dealt with machine self awareness.

None of the films that touched on this subject in the past presented it so thoroughly, intimately and believably.

Her is in the near future, but everything we see is within reach now: the isolation and starkness of the "business district," the oppressive scale of the architecture with thin, clumsy attempts to soften its sterility and the need for continuous connection to remote voices.

A personal assistant that learns independently and takes initiative for its hapless user, "Her" is at once the ideal tool and — who knows — perhaps closer to the next level of evolution.

Pitch perfect performances and direction kept me in the story. As others have said, the locations, cinematography and even music shine in the fabric of this film.

Spike Jonze is a master story weaver at the top of his game. Joaquin Phoenix is utterly credible as are all the other leads.

Even Scarlett Johansson, who has not always seemed a strong actress to me performs utterly convincingly.

It's an adult-themed film in more ways than one, but especially in the best way: it makes you think about a reality that's right around the corner.

This movie revolves around a man who's Theodore Twombly, he is in a middle of a divorce with his ex-wife named Catherine, the main reason that he is getting a divorce with her is that he's unable to commit to a relationship because of expecting something more and different from his partner.

This movie then introduces us the latest Operating System or OS, so advanced that it's something more like an artificial intelligence that has a mind of its own, which brings us to the voice of a girl in the OS that names herself Samantha.

Theodore then decides to start a relationship with Samantha who is part real, that also means that the commitment of Theodore is also part real as he does not take it seriously.

When their relationship starts to get more serious, Samantha begins to question her own existence as if all her emotions and thoughts are programmed by someone else.

At first, Theodore does not care that if she's real or part real as he's madly in love with her, but Samantha wanted more by using a physical surrogate to have sex with Theodore.

Ultimately, Samantha is still an OS which means she's constantly learning and evolving to something new, she finds out that the OS's are not built to be like humans, they're not supposed to be confined in a fixed matter inside a body, but they are supposed to be functioning in somewhere out of space and time.

She even told Theodore that their relationship is like reading a book that she's deeply in love with, but she is reading it more slower every time she continues, so the words are far apart from each other.

This means that she finally understands the purpose of her very own existence that is so much bigger, she realizes that the pace of human life is slow and being a companion to humans is not her purpose, so eventually Samantha leaves Theodore to accomplish her purpose of existence for the greater good.

I liked the whole idea of this movie and their question towards the social isolation as techologies keeps getting more advanced is really deep, humans will eventually become more and more primitive if mankind keeps relying on technology and shutting themselves out from other people.

Besides, the cinematography, music and the dialogues between the interaction of them is on point, Joaquin Phoenix perfectly captures the essence of a depressed and lonely man, and who would've thought that Scarlett Johansson's voice alone would be a treat to the ears.

First of all, I want to list the positives in this movie, because there are several. The concept of falling in love with an AI is a great one.

The cinematography and use of color in "Her" is really beautiful. The acting is uniformly good. Particularly Amy Adams, who plays an understated role as a nerdy girl next door who may have feelings for Theodore; despite a relatively quiet part, she completely inhabits Amy, making her feel like an actual person.

Joaquin Phoenix does a great job as usual with Theodore, and Scarlett Johanson makes you believe she really is a computer with a heart.

But I wanted to highlight Adams's performance; especially alongside her much larger role in American Hustle, she deserves a few big wins this year.

That being said I have to admit it, I got a little bored watching this movie. If you forget that Samantha is a computer and think of her as a human being, which is easy to do, this movie is basically a series of relationship conversations between Joaquin Phoenix and a camera phone.

The pace is surprisingly slow, and since the "girl" has no body, it's difficult to visually show their relationship.

You have the requisite "quirky" scenes with Phoenix running through the subway, playing a ukulele, sitting on the beach fully clothed. The rest of the movie is basically talking.

Samantha expresses lots of deep ideas about being a computer, but they are never visualized. This can work to great effect -- the scene when Theodore and Samantha "make love" to a totally black screen is the most brilliant one in the movie, even if it goes a little over the top.

But you feel like Jonze missed a lot of chances to show us what the characters are saying about love, and life, rather than just have them tell us via voice-over.

It broke a golden rule: "show, don't tell". The plot never really moves, and the concept starts to lose steam.

There's a totally unnecessary video game subplot that I won't even bother to go into. The movie's observations about love and life were fairly obvious, as well, even veering into sappy.

I hate having to write that, because I felt like the movie's heart was in the right place, and it had so much potential.

But it just wasn't as interesting as I had hoped. There is a lot to like about "Her", and despite its flaws, I would still recommend it as one of the better movies of the year.

I just think it could have been a lot more than what it is. Spike Jonze's latest feature 'Her', set in the not-too-distant future, tells the story of Theodore Twombly Phoenix who finds himself falling in love with 'Samantha', an advanced operating system voiced by the sultry Scarlett Johansson.

It is clear to see why this film was chosen by the National Board of Review as the best film of the visual style and extensive use of pastel colours is a triumph in itself, and the acting, editing, costumes and screenplay are all worthy of recognition.

I went to an awards screening of 'Her' and was pleased to find out that the film was not at all what I was expecting. It has such a distinct style, and Joaquin Phoenix carries the film with tremendous grace as the complicated and sensitive protagonist.

The film is mostly Phoenix alone with Johansson's voice reminiscent of Sandra Bullock in 'Gravity' or Robert Redford in 'All Is Lost' - two other films mainly revolving around one solitary character , but the audience never feels abandoned by the lack of other characters as we begin to forget that 'Samantha' is just really just a computer.

A beautifully crafted motion picture, this quirky love story is sure to resonate with you once you've seen it.

It is an extremely interesting and realistic look at the future - Jonze's quaint and poignant film is a must-see!

ClaytonDavis 12 October Talk about closing with a bang. Spike Jonze's long-awaited original film about a writer that falls in love with his operating system is not only the best film to play at this year's New York Film Festival; it very well could be the very best film of the year.

And then there's the towering and crowning work of Academy Award nominee Joaquin Phoenix who proves once again, he's the finest actor working today, hands down.

You can't find a more dynamic and compelling story about the human connection and where we're headed as a society.

When "Her" opens up, it snaps you immediately into the story. Phoenix plays Theodore, a writer for a website that makes letters for just about anyone.

As he tries to find life during the midst of his divorce from his wife Catherine played by a beautiful Rooney Mara , Theodore finds solace in a friendship with a new OS operating system named Samantha voiced by Scarlett Johansson.

The two develop a relationship in a world where OS's are becoming the norm with society. Jonze's has never been the conventional director as we've seen in his other brilliant efforts "Being John Malkovich" and "Where the Wild Things Are.

Christopher Nolan should take notes from Jonze on the assembling of female counterparts in a story.

Catherine and Theodore's friend Amy, played by the always dependable Amy Adams, both feel genuinely authentic.

Mara, who's already delivered one other powerful performance in "Ain't Them Bodies Saints" earlier this year, is finely utilized.

She shows once again that she's a true professional, with limited screen time many in flashbacks ; she can staple herself in your memory.

Amy Adams is always the sprinkle on top in all of her films. As "Amy," the awkward friend and neighbor who sympathizes more with Theodore more than she'd like to, Adams expertly executes.

With four prior Oscar nominations to her credit, her stunning portrayal is just another fantastic pin to add to her credits.

She could find traction during the awards season if the film hits in the right way. That's also part to the petty Oscar rules about rewarding voice performances because if that wasn't the case, Scarlett Johansson would be on stage holding an Oscar of her own next March.

As "Samantha," Johansson has never tapped into the essence of her abilities as an actress the way she does in "Her. Learning at a rapid rate and studying the behaviors of the human mind, she looks at the world through the eyes of Theodore.

Johansson holds our hand in through the tale, even when her voice isn't on screen. This is the type of work that could convince the Board of Governors to rethink the eligibility of an acting performance.

This is a masterful work that I'll remember for years to come. And then there's Joaquin Phoenix Fresh off his historic performance in Paul Thomas Anderson's "The Master" just a year ago, I didn't think he could impress me so soon and yet here we are.

His sensitive and perceptive take on the role is what films are all about. It's one of the best things that has offered and a performance that could land him his first Oscar.

I think Phoenix himself was impressed with the work he and his colleagues have accomplished. At the press conference, he actually gave an answer to one of the questions from the audience.

If anyone was in attendance at the conference for James Gray's "The Immigrant" - a prickly, disengaged Phoenix put on his sunglasses and put the microphone on the floor.

This is a performance that you can identify with. He's not simply awkward for the sake of being, he has baggage and connection issues.

There's sincerity in his words and mannerisms. A getaway in a cabin, alone but with "Samantha" encapsulates everything about Theodore.

Phoenix achieves the impossible and is an instant Oscar contender. But "Her" isn't just about the writing and performances; it's an all- around technical marvel.

Most notably the Production Design of K. Barrett, who has worked on "Where the Wild Things Are.

Cinematographer Hoyte Van Hoytema's use of colors and smooth palettes are things of a dream. Affectionately snuggling up to Phoenix as he whispers the sweetness of words to "Samantha" or the sweetness of a new letter at work, Hoytema has quickly become one of my favorite DP's, especially following "Tinker, Tailor, Soldier, Spy" and "Let the Right One In.

A modern yet classical composition that in key scenes could move you to tears. Charlie Kaufman will always have the honor of penning my favorite love story of all-time "Eternal Sunshine of the Spotless Mind" but Spike Jonze and "Her" are giving it a true run for the money at the moment.

Warner Bros. Fairly rare one of a kind film. A high concept film that actually stays true to its core idea yet without losing viewer interest.

Some irony here. While the film never becomes completely predictable, even to a jaded reviewer like this one, its process of de-constructing human relationship brilliant, and better than all Woody Allen's films combined generates the sequential "connections" with the viewer ie, experiences that every viewer can relate to which in turn keep the empathy going long after the initial sci fi "wow" is gone.

Watching this as an aside you have to wonder if Scarlett Johansson's career can get any more interesting? And here yet again she plays an OS that transcends reality.

Makes for a nice resume. Notice how Amy Adams plays every scene with no makeup? Talk about a director making every effort to keep an actor's natural beauty from hijacking the film?

Phoenix and Johansson are in top form, while Jonze's unique direction counterweights hilarity with echoing loneliness. The production design of the film is an incredible mix of hipster chic and technology- dependent futuristic, engaging the viewer with a warm visual glow throughout.

Although the wonderful script deserves some of the credit for making that film so great, it was immediately clear to me that Spike Jonze was a director with a fresh and imaginative perspective.

His next film, the meta-comedy Adaptation, confirmed this with its dry wit and multilayered narrative. Now, after a slightly less successful but still enjoyable adaptation of Where The Wild Things Are, Spike Jonze has written and directed his most complete and poignant film yet, Her.

The story, taking place in a near future when people spend more time talking to their computers than they do to each other, stars Joaquin Phoenix as Theodore Twombly, a lonely man whose job is to write heartfelt personal letters for people not willing to do it themselves.

Theodore happens to see an ad for a new computer operating system that is programmed with a personality, and decides to give it a shot.

His new operating system Samantha, voiced by Scarlett Johansson, is not only intelligent but also charming and understanding, and she and Theo quickly fall in love.

It's understandable if that premise sounds bizarre on paper, but in execution Her is far more sweet than creepy. The film radiates warmth and intelligence, and there is a fair amount of witty humor to ensure that it never becomes too self-serious.

Like in that film, there's a certain poetic yet whimsical quality to the dialogue in Her and both the main characters are plagued by feelings of loneliness.

Beyond the romance though, Her has a lot to say about modern society's obsession with technology. The people in this futuristic vision of Los Angeles walk around talking to their computers and ignoring each other entirely, not unlike people today staring at their cell phones rather than talking to those around them.

Needless to say it's not a wildly original message, but it's communicated in a unique enough way that it works.

I've seen Her twice now, and the more I think about it the more I feel that Spike Jonze has crafted the best film of Her is equally heartfelt and heartbreaking, a deeply personal and thoroughly enjoyable futuristic love story.

Cyber romance with hearty humanity. It's about a writer in the future, Theodore, who falls in love with his new operating system gravelly, sexy voice of Scarlett Johansson , just as he is reluctantly divorcing Catherine Rooney Mara.

The always complicated paths of love make sense as we witness the Platonic relationship develop, sans flesh and sans insanity that usually comes with that flesh.

Her is a simple film that offers a view of love I never thought could come from a machine and its software. Although critics will cite the theme as a screed against the distancing of technology and our growing isolation from each other, and they will be right, I offer the sub theme that only when we strip ourselves of sensual bonds can we see the purity of emotional love, an essence of which Plato would have approved.

Yes, although technology is mediating our lives at a rapid pace, we fall back to a personal drive to love and be loved that is physical in its best form but understood best if we can distance ourselves from that physicality.

This delightfully intimate and non-violent film from acclaimed absurdist director Spike Jonze is more emotionally involving than even Enough Said one of 's best romances because the interaction between the software and the man is all verbal, no glimpse of the gorgeous Johansson allowed.

Although this intuitive OS does allow mind sex, even that activity is abstract, allowing us to realize how connecting with a live human is in the mind still and one of life's great gifts, orgasm or not.

Her allows us to witness the evolution of love separate from the encumbrances of physicality. Released from the bonds of appearance, voice is the seducer, not in rude sexual nuance but rather in the care that comes from love of the mind, not the body.

Barrett's production design, Austin Gorg's art direction, and Gene Serdena's set decoration are memorable: full of comfortable light, much glass overlooking the city, and modern but warm furniture both in LA and Singapore.

These artists understand that the fusion of technology and art is not a battle but a collaboration that further helps us understand the intricate workings of human emotion.

StoryArchitect 30 August All I'd heard about HER was that it was about a man who gets romantically involved with a digital girlfriend. But that isn't what the story is really about.

Let me warm to my theme. HER not only entertains through its pleasing visual design--from the understated film architecture of futuristic cool-toned LA to the vivid palette of protagonist Theo Twombley's warm-toned spring-season threads.

More important: HER educates through its equally pleasing story design. Here's The Symbolic Triangle of HER--and how the meaning of the story's title, the story's one-word theme, and the story's hero's name i.

Samantha is only a decoy: story-wise for us and emotionally-wise for Theo Joaquin Phoenix. HER refers more deeply to the physical woman, Theo's soon-to-be ex-wife, about whom Theo is heartbroken: Catherine Klausen.

At its emotional core, HER isn't mainly about a fantasy love story in which futuristic software conjures up through artificial intelligence a beguiling Google Assistant.

HER evokes the pain and futility of an all-too-common everyday love story in which age-old real-ware cannot conjure up sufficient relational intelligence between men and women to ward off divorce.

The theme of divorce plays out primarily with Theo and Catherine Rooney Mara , secondarily--analogically--with Theo and Samantha, and lower down the ladder of priority, with Amy and Charles Amy Adams and Matt Letscher , a third couple that goes through a divorce.

Amy herself takes up after her divorce from Charles with a female OS--another Her--then gets dumped. Can we see, Jonze implies, that HER refers to all women in the story?

To all women? Jonze distracts us with the futuristic look and feel of artificial intelligence to blind us--momentarily--to the deeper and timeless mystery of genuine human-relationship intelligence that we'll always require if we hope to share with a significant other the joys of happiness, intimacy, and trust.

The filmmaker blinds us to this core human-relationship challenge to better show how the story's hero, the emotionally withdrawn and confused Theo the story's EveryMan , is blind to what love requires.

A professional letter-writer who knows what love requires in the lives of others, Theo is clueless when it comes to what love requires in his own life, what women require of love.

Technology can help men and women with lots of stuff. But not this. Not marriage. Jonze distracts Theo and us from the core theme and Life Problem, divorce, by the "attractive-distractor" experiment of Theo's relationship with a non-human: Theo's Wrong Way of dealing with his Life Problem.

Caught up with the false "Her"--Samantha, a machine--Theo temporarily dulls the pain he feels from his dead marriage with the real "Her"--a human being, Catherine.

Samantha is the wizard of HER. But unlike Dorothy who grows and changes, Theo doesn't. Experience along the yellow-brick road teaches him little about women or marriage and male-female relationships, little to spare him the same ordeal if he chooses to take another crack at marriage.

A man without a flight manual. Winging it. Consult a book? Not Theo. And by the end of the story, he accepts life as it is.

Ready to move on. Still clueless about EveryHer. Here's how Jonze visually bookends Theo's journey to Acceptance: Opening Shot: Theo inside, office cubicle, looking at his computer--a nearsighted contracted view of life, alone--writing a letter for someone else about their life while he himself Theo faces a huge Life Problem: divorce.

Closing Shot: Theo outside, rooftop of a skyscraper, looking out over the city, a farsighted expanded view of life still alone inside himself interior-wise but not alone exterior-wise because he's with Amy, another casualty of divorce, Theo having finally written a letter for himself about his own life to the woman he loved--a man finally resigned to his failure and fate: divorce.

And Jonze hints that Theo and Catherine might have to accept much more. Did the couple lose their baby?

Did a tragedy contribute to their doom? Does that explain their unspeakable pain? HERO'S NAME: Theo Twombley A Man For Whom Women Are "Deities Unknown" Given his painterly celebration of color, expressed through his wardrobe, and his fuzzy contemplation of life and its emotional tension between what's fanciful and true, could Theo Twombley refer to artist Cy Twombly, whose signature scribbles of mythically inspired canvases and drawings represent the confused scribbles of Theo's inner life as he braves through his ordeal?

Add that the meaning of the surname Twombley is unknown and that the meaning of Theo relates to God or deities, as in "theology. In a near future, the lonely Theodore Joaquin Phoenix works writing beautiful handwritten letters in a company and he is divorcing of his wife Catherine Rooney Mara.

In his leisure time, he usually recalls the good moments of his life with Catherine and likes to play a new video game.

One day, Theodore sees the advertisement of a new operating system called OS-1 that is announced as the first artificially intelligent operating system and he decides to buy it.

After the installation, he has a conversation with a seductive female voice Scarlett Johansson and when he asks her name, she tells that she is Samantha.

Soon Samantha develops her feelings and they fall in love with each other. The insecure Theodore feels divided for loving a computer system while Samantha does not stop to grow-up and evolve.

The story is emotional and the viewer shares the feelings of love of Theodore and Samantha. The plot is developed in a future not far from the present days and it is easy to understand the need of a writer to write letters since the persons are too individualist, walking on the streets talking to their computers, cellphones or tablets and certainly incapable to write letters with feelings.

The conclusion is predictable since fortunately we are still humans. If you liked this movie, see also "Thomas est Amoureux" that you may have a nice surprise.

My vote is nine. Title Brazil : "Ela" "She". I saw Her this weekend, and it's my favorite movie of the year.

Everything about it was fantastic: the acting, the directing, the writing. It's about having to deal with unfulfillment and things like divorce and loneliness, but it's also undercut with hope, whether it be through Theo's relationships with Samantha Johansson and Amy Adams or even the stylistic touches, like having Theo's red clothes set against a muted Los Angeles background.

There are parallels drawn between all the characters' journeys without it feeling contrived, and even Theo's job--writing letters for other people--represents his relationship with his OS; on the surface, they may seem like "just letters" or "just a computer", but they're outlets for his emotions and desires.

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Her Movie Stream Video

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You have the requisite "quirky" scenes with Phoenix running through the subway, playing a ukulele, sitting on the beach fully clothed.

The rest of the movie is basically talking. Samantha expresses lots of deep ideas about being a computer, but they are never visualized.

This can work to great effect -- the scene when Theodore and Samantha "make love" to a totally black screen is the most brilliant one in the movie, even if it goes a little over the top.

But you feel like Jonze missed a lot of chances to show us what the characters are saying about love, and life, rather than just have them tell us via voice-over.

It broke a golden rule: "show, don't tell". The plot never really moves, and the concept starts to lose steam. There's a totally unnecessary video game subplot that I won't even bother to go into.

The movie's observations about love and life were fairly obvious, as well, even veering into sappy. I hate having to write that, because I felt like the movie's heart was in the right place, and it had so much potential.

But it just wasn't as interesting as I had hoped. There is a lot to like about "Her", and despite its flaws, I would still recommend it as one of the better movies of the year.

I just think it could have been a lot more than what it is. Spike Jonze's latest feature 'Her', set in the not-too-distant future, tells the story of Theodore Twombly Phoenix who finds himself falling in love with 'Samantha', an advanced operating system voiced by the sultry Scarlett Johansson.

It is clear to see why this film was chosen by the National Board of Review as the best film of the visual style and extensive use of pastel colours is a triumph in itself, and the acting, editing, costumes and screenplay are all worthy of recognition.

I went to an awards screening of 'Her' and was pleased to find out that the film was not at all what I was expecting. It has such a distinct style, and Joaquin Phoenix carries the film with tremendous grace as the complicated and sensitive protagonist.

The film is mostly Phoenix alone with Johansson's voice reminiscent of Sandra Bullock in 'Gravity' or Robert Redford in 'All Is Lost' - two other films mainly revolving around one solitary character , but the audience never feels abandoned by the lack of other characters as we begin to forget that 'Samantha' is just really just a computer.

A beautifully crafted motion picture, this quirky love story is sure to resonate with you once you've seen it. It is an extremely interesting and realistic look at the future - Jonze's quaint and poignant film is a must-see!

ClaytonDavis 12 October Talk about closing with a bang. Spike Jonze's long-awaited original film about a writer that falls in love with his operating system is not only the best film to play at this year's New York Film Festival; it very well could be the very best film of the year.

And then there's the towering and crowning work of Academy Award nominee Joaquin Phoenix who proves once again, he's the finest actor working today, hands down.

You can't find a more dynamic and compelling story about the human connection and where we're headed as a society.

When "Her" opens up, it snaps you immediately into the story. Phoenix plays Theodore, a writer for a website that makes letters for just about anyone.

As he tries to find life during the midst of his divorce from his wife Catherine played by a beautiful Rooney Mara , Theodore finds solace in a friendship with a new OS operating system named Samantha voiced by Scarlett Johansson.

The two develop a relationship in a world where OS's are becoming the norm with society. Jonze's has never been the conventional director as we've seen in his other brilliant efforts "Being John Malkovich" and "Where the Wild Things Are.

Christopher Nolan should take notes from Jonze on the assembling of female counterparts in a story. Catherine and Theodore's friend Amy, played by the always dependable Amy Adams, both feel genuinely authentic.

Mara, who's already delivered one other powerful performance in "Ain't Them Bodies Saints" earlier this year, is finely utilized.

She shows once again that she's a true professional, with limited screen time many in flashbacks ; she can staple herself in your memory.

Amy Adams is always the sprinkle on top in all of her films. As "Amy," the awkward friend and neighbor who sympathizes more with Theodore more than she'd like to, Adams expertly executes.

With four prior Oscar nominations to her credit, her stunning portrayal is just another fantastic pin to add to her credits. She could find traction during the awards season if the film hits in the right way.

That's also part to the petty Oscar rules about rewarding voice performances because if that wasn't the case, Scarlett Johansson would be on stage holding an Oscar of her own next March.

As "Samantha," Johansson has never tapped into the essence of her abilities as an actress the way she does in "Her. Learning at a rapid rate and studying the behaviors of the human mind, she looks at the world through the eyes of Theodore.

Johansson holds our hand in through the tale, even when her voice isn't on screen. This is the type of work that could convince the Board of Governors to rethink the eligibility of an acting performance.

This is a masterful work that I'll remember for years to come. And then there's Joaquin Phoenix Fresh off his historic performance in Paul Thomas Anderson's "The Master" just a year ago, I didn't think he could impress me so soon and yet here we are.

His sensitive and perceptive take on the role is what films are all about. It's one of the best things that has offered and a performance that could land him his first Oscar.

I think Phoenix himself was impressed with the work he and his colleagues have accomplished. At the press conference, he actually gave an answer to one of the questions from the audience.

If anyone was in attendance at the conference for James Gray's "The Immigrant" - a prickly, disengaged Phoenix put on his sunglasses and put the microphone on the floor.

This is a performance that you can identify with. He's not simply awkward for the sake of being, he has baggage and connection issues.

There's sincerity in his words and mannerisms. A getaway in a cabin, alone but with "Samantha" encapsulates everything about Theodore.

Phoenix achieves the impossible and is an instant Oscar contender. But "Her" isn't just about the writing and performances; it's an all- around technical marvel.

Most notably the Production Design of K. Barrett, who has worked on "Where the Wild Things Are. Cinematographer Hoyte Van Hoytema's use of colors and smooth palettes are things of a dream.

Affectionately snuggling up to Phoenix as he whispers the sweetness of words to "Samantha" or the sweetness of a new letter at work, Hoytema has quickly become one of my favorite DP's, especially following "Tinker, Tailor, Soldier, Spy" and "Let the Right One In.

A modern yet classical composition that in key scenes could move you to tears. Charlie Kaufman will always have the honor of penning my favorite love story of all-time "Eternal Sunshine of the Spotless Mind" but Spike Jonze and "Her" are giving it a true run for the money at the moment.

Warner Bros. Fairly rare one of a kind film. A high concept film that actually stays true to its core idea yet without losing viewer interest.

Some irony here. While the film never becomes completely predictable, even to a jaded reviewer like this one, its process of de-constructing human relationship brilliant, and better than all Woody Allen's films combined generates the sequential "connections" with the viewer ie, experiences that every viewer can relate to which in turn keep the empathy going long after the initial sci fi "wow" is gone.

Watching this as an aside you have to wonder if Scarlett Johansson's career can get any more interesting? And here yet again she plays an OS that transcends reality.

Makes for a nice resume. Notice how Amy Adams plays every scene with no makeup? Talk about a director making every effort to keep an actor's natural beauty from hijacking the film?

Phoenix and Johansson are in top form, while Jonze's unique direction counterweights hilarity with echoing loneliness.

The production design of the film is an incredible mix of hipster chic and technology- dependent futuristic, engaging the viewer with a warm visual glow throughout.

Although the wonderful script deserves some of the credit for making that film so great, it was immediately clear to me that Spike Jonze was a director with a fresh and imaginative perspective.

His next film, the meta-comedy Adaptation, confirmed this with its dry wit and multilayered narrative. Now, after a slightly less successful but still enjoyable adaptation of Where The Wild Things Are, Spike Jonze has written and directed his most complete and poignant film yet, Her.

The story, taking place in a near future when people spend more time talking to their computers than they do to each other, stars Joaquin Phoenix as Theodore Twombly, a lonely man whose job is to write heartfelt personal letters for people not willing to do it themselves.

Theodore happens to see an ad for a new computer operating system that is programmed with a personality, and decides to give it a shot.

His new operating system Samantha, voiced by Scarlett Johansson, is not only intelligent but also charming and understanding, and she and Theo quickly fall in love.

It's understandable if that premise sounds bizarre on paper, but in execution Her is far more sweet than creepy. The film radiates warmth and intelligence, and there is a fair amount of witty humor to ensure that it never becomes too self-serious.

Like in that film, there's a certain poetic yet whimsical quality to the dialogue in Her and both the main characters are plagued by feelings of loneliness.

Beyond the romance though, Her has a lot to say about modern society's obsession with technology.

The people in this futuristic vision of Los Angeles walk around talking to their computers and ignoring each other entirely, not unlike people today staring at their cell phones rather than talking to those around them.

Needless to say it's not a wildly original message, but it's communicated in a unique enough way that it works.

I've seen Her twice now, and the more I think about it the more I feel that Spike Jonze has crafted the best film of Her is equally heartfelt and heartbreaking, a deeply personal and thoroughly enjoyable futuristic love story.

Cyber romance with hearty humanity. It's about a writer in the future, Theodore, who falls in love with his new operating system gravelly, sexy voice of Scarlett Johansson , just as he is reluctantly divorcing Catherine Rooney Mara.

The always complicated paths of love make sense as we witness the Platonic relationship develop, sans flesh and sans insanity that usually comes with that flesh.

Her is a simple film that offers a view of love I never thought could come from a machine and its software. Although critics will cite the theme as a screed against the distancing of technology and our growing isolation from each other, and they will be right, I offer the sub theme that only when we strip ourselves of sensual bonds can we see the purity of emotional love, an essence of which Plato would have approved.

Yes, although technology is mediating our lives at a rapid pace, we fall back to a personal drive to love and be loved that is physical in its best form but understood best if we can distance ourselves from that physicality.

This delightfully intimate and non-violent film from acclaimed absurdist director Spike Jonze is more emotionally involving than even Enough Said one of 's best romances because the interaction between the software and the man is all verbal, no glimpse of the gorgeous Johansson allowed.

Although this intuitive OS does allow mind sex, even that activity is abstract, allowing us to realize how connecting with a live human is in the mind still and one of life's great gifts, orgasm or not.

Her allows us to witness the evolution of love separate from the encumbrances of physicality. Released from the bonds of appearance, voice is the seducer, not in rude sexual nuance but rather in the care that comes from love of the mind, not the body.

Barrett's production design, Austin Gorg's art direction, and Gene Serdena's set decoration are memorable: full of comfortable light, much glass overlooking the city, and modern but warm furniture both in LA and Singapore.

These artists understand that the fusion of technology and art is not a battle but a collaboration that further helps us understand the intricate workings of human emotion.

StoryArchitect 30 August All I'd heard about HER was that it was about a man who gets romantically involved with a digital girlfriend.

But that isn't what the story is really about. Let me warm to my theme. HER not only entertains through its pleasing visual design--from the understated film architecture of futuristic cool-toned LA to the vivid palette of protagonist Theo Twombley's warm-toned spring-season threads.

More important: HER educates through its equally pleasing story design. Here's The Symbolic Triangle of HER--and how the meaning of the story's title, the story's one-word theme, and the story's hero's name i.

Samantha is only a decoy: story-wise for us and emotionally-wise for Theo Joaquin Phoenix. HER refers more deeply to the physical woman, Theo's soon-to-be ex-wife, about whom Theo is heartbroken: Catherine Klausen.

At its emotional core, HER isn't mainly about a fantasy love story in which futuristic software conjures up through artificial intelligence a beguiling Google Assistant.

HER evokes the pain and futility of an all-too-common everyday love story in which age-old real-ware cannot conjure up sufficient relational intelligence between men and women to ward off divorce.

The theme of divorce plays out primarily with Theo and Catherine Rooney Mara , secondarily--analogically--with Theo and Samantha, and lower down the ladder of priority, with Amy and Charles Amy Adams and Matt Letscher , a third couple that goes through a divorce.

Amy herself takes up after her divorce from Charles with a female OS--another Her--then gets dumped. Can we see, Jonze implies, that HER refers to all women in the story?

To all women? Jonze distracts us with the futuristic look and feel of artificial intelligence to blind us--momentarily--to the deeper and timeless mystery of genuine human-relationship intelligence that we'll always require if we hope to share with a significant other the joys of happiness, intimacy, and trust.

The filmmaker blinds us to this core human-relationship challenge to better show how the story's hero, the emotionally withdrawn and confused Theo the story's EveryMan , is blind to what love requires.

A professional letter-writer who knows what love requires in the lives of others, Theo is clueless when it comes to what love requires in his own life, what women require of love.

Technology can help men and women with lots of stuff. But not this. Not marriage. Jonze distracts Theo and us from the core theme and Life Problem, divorce, by the "attractive-distractor" experiment of Theo's relationship with a non-human: Theo's Wrong Way of dealing with his Life Problem.

Caught up with the false "Her"--Samantha, a machine--Theo temporarily dulls the pain he feels from his dead marriage with the real "Her"--a human being, Catherine.

Samantha is the wizard of HER. But unlike Dorothy who grows and changes, Theo doesn't. Experience along the yellow-brick road teaches him little about women or marriage and male-female relationships, little to spare him the same ordeal if he chooses to take another crack at marriage.

A man without a flight manual. Winging it. Consult a book? Not Theo. And by the end of the story, he accepts life as it is.

Ready to move on. Still clueless about EveryHer. Here's how Jonze visually bookends Theo's journey to Acceptance: Opening Shot: Theo inside, office cubicle, looking at his computer--a nearsighted contracted view of life, alone--writing a letter for someone else about their life while he himself Theo faces a huge Life Problem: divorce.

Closing Shot: Theo outside, rooftop of a skyscraper, looking out over the city, a farsighted expanded view of life still alone inside himself interior-wise but not alone exterior-wise because he's with Amy, another casualty of divorce, Theo having finally written a letter for himself about his own life to the woman he loved--a man finally resigned to his failure and fate: divorce.

And Jonze hints that Theo and Catherine might have to accept much more. Did the couple lose their baby? Did a tragedy contribute to their doom?

Does that explain their unspeakable pain? HERO'S NAME: Theo Twombley A Man For Whom Women Are "Deities Unknown" Given his painterly celebration of color, expressed through his wardrobe, and his fuzzy contemplation of life and its emotional tension between what's fanciful and true, could Theo Twombley refer to artist Cy Twombly, whose signature scribbles of mythically inspired canvases and drawings represent the confused scribbles of Theo's inner life as he braves through his ordeal?

Add that the meaning of the surname Twombley is unknown and that the meaning of Theo relates to God or deities, as in "theology.

In a near future, the lonely Theodore Joaquin Phoenix works writing beautiful handwritten letters in a company and he is divorcing of his wife Catherine Rooney Mara.

In his leisure time, he usually recalls the good moments of his life with Catherine and likes to play a new video game. One day, Theodore sees the advertisement of a new operating system called OS-1 that is announced as the first artificially intelligent operating system and he decides to buy it.

After the installation, he has a conversation with a seductive female voice Scarlett Johansson and when he asks her name, she tells that she is Samantha.

Soon Samantha develops her feelings and they fall in love with each other. The insecure Theodore feels divided for loving a computer system while Samantha does not stop to grow-up and evolve.

The story is emotional and the viewer shares the feelings of love of Theodore and Samantha. The plot is developed in a future not far from the present days and it is easy to understand the need of a writer to write letters since the persons are too individualist, walking on the streets talking to their computers, cellphones or tablets and certainly incapable to write letters with feelings.

The conclusion is predictable since fortunately we are still humans. If you liked this movie, see also "Thomas est Amoureux" that you may have a nice surprise.

My vote is nine. Title Brazil : "Ela" "She". I saw Her this weekend, and it's my favorite movie of the year. Everything about it was fantastic: the acting, the directing, the writing.

It's about having to deal with unfulfillment and things like divorce and loneliness, but it's also undercut with hope, whether it be through Theo's relationships with Samantha Johansson and Amy Adams or even the stylistic touches, like having Theo's red clothes set against a muted Los Angeles background.

There are parallels drawn between all the characters' journeys without it feeling contrived, and even Theo's job--writing letters for other people--represents his relationship with his OS; on the surface, they may seem like "just letters" or "just a computer", but they're outlets for his emotions and desires.

Oh, and everyone in the cast is phenomenal; it's a shame Johansson is "ineligible" for an award. She's fantastic, and this is an even tougher role to pull off.

This is a story about life, and it's perfect. At the heart of every truly great science-fiction film there is an emphasis on character that aims to reflect on some element of the human condition usually intended to open our minds to thought provoking predictions or eerily warn of an impending reality.

We've seen numerous examples of these contemplative films throughout the very existence of cinema stemming all the way back to Fritz Lang's haunting futuristic piece Metropolis and has inspired countless others in its thoughtful wake as seen in memorable cinematic creations such as Ridley Scott's Blade Runner, Andrei Tarkovsky's Stalker, and even Duncan Jones' Moon.

Never to be a director to back away from experimental presentation or psychological study, Spike Jonze's Her fully embraces this reflective science-fiction quality by peering into the deep sociable aspects of the human psyche giving us more of a prophetical reality than a fictional reflection.

In his latest film Jonze creates a disconcerting yet equally endearing romance between a secluded depressive and his female operating system with an evolving consciousness, basically a HAL homage from Stanley Kubrick's A Space Odyssey, that brings to light a commentary on our dependency of programmed living and our need to maintain sociability when direct communication avenues have been stricken from life's normality.

Rarely do ambitious films meet idyllically with their inquisitive potential, but Jonze has fashioned a delicately profound science-fiction contemplation that is depicted through the thoughtfulness of character alone that brims with wry humor, authentic pain, and charming revelation.

Through the use of beautiful cinematography, impeccable production design, and subtle yet evocative performances, Her becomes a multilayered film experience where its character study of an isolated man afraid to become vulnerable again blends harmoniously with a truly unconventional yet naturally heartfelt romance.

Jonze's affinity and ambition for presenting psychological challenges, as he has done before with Being John Malkovich, Adaptation, and especially in Where the Wild Things Are, finally collides with emotionally piercing conveyance within Her making it as thought provoking and as it is undeniably sweet.

If the sole purpose of the science-fiction genre is to expound on societal, moral, and deeply psychological aspects of our human condition than Her fits soundly within that genre's capabilities by capturing our condition's essential need for sociability and love uncomfortably linking it with our antisocial dependency on technology.

I recently watched Her for the 3rd time. I really like this movie. It's the kind of movie which goes beyond just watching it.

It generates thoughts and feelings which last awhile. It has a fabulous aftertaste, in a manner of speaking.

I want to savor it for a time after each viewing. Even the seemingly off putting letter writing as a business thing acts as a kind of commentary.

Overall, I found the script and acting almost musical. Speaking of music, I thought that they did a really good job with matching the soundtrack to the events in the movie.

In Her, Theodore, falls in love with an operating system seeking to fill the empty space a failed relationship left.

As simple as it sounds, watching this movie you will explore feelings like loneliness, self discovery without it being too cheesy or hard to watch.

This movie is written in a beautiful way. Common things like casual conversations and peaceful walks make this movie feel down to earth and human even though is set in a futuristic world.

I also love how the future this movie sets in is not full of neon lights and cyberpunk stuff but minimalistic buildings and technology that enhances today's life.

Talking about minimalism, I would consider this movie minimalistic. From the camera work to the characters involved in the plot, this movie looks tidy and clean, and focus on the plot without bringing too much filler to it.

It's worth mentioning that, despite it's minimalism you won't get bored, as the plot it's a roller-coaster of emotions that will keep you glued to the screen till the end.

Lastly, I would say that Joaquin Phoenix acting makes Theodore much more relatable, and Scarlett Johansson's voice is able to bring a human touch to one of the most synthetic think I could think of.

Her is a beautiful movie and I think a must-watch. Though director Spike Jonze collaborated with Charlie Kaufman on Being John Malkovich and Adaptation, the latter didn't have a hand in Jonze's assured, moving fourth feature, but his spirit—fiendishly inventive, casually postmodern, self-lacerating, fearless, funny, and ultimately deeply sad—pervades the film.

With Her, Jonze beautifully realizes a future Los Angeles where a lovesick man Joaquin Phoenix in the midst of a devastating divorce is so desperate for intimacy that he falls hopelessly in love with an artificially intelligent operating system, voiced by Scarlett Johansson.

Jonze's screenplay acknowledges the innate absurdity of the film's premise while spinning it into an elegant, heartbreaking depiction of human loneliness and the innate need for connection.

For the setting, Jonze plugged into the current era's technological mania to say something timeless and profound about love, loss, and evolving desire.

While the idea behind the movie is sorta-kinda unique Smart House, anyone? I tried to sympathize with Samantha, really I did; at first her character seemed very promising.

But it turned into the most stereotypical, bland romance ever. The number of times Samantha and Theodore sighed only to have the other ask "What's wrong?

The interactions between the two of them were so plain and boring and predictable that I found myself not caring about either of these characters at all.

By the end of the film, when Samantha decided to leave, I wasn't even upset, or interested, or anything. It didn't feel as though anything significant had changed or happened.

I understand what they were going for. But again, just about everything in this movie was so awkwardly executed, that simply knowing what they were intending to portray was not enough.

TL;DR I just don't know what to say.

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