Logic dictates that somebody somewhere is developing a found-footage remake of this and it’s gonna be the worst but this movie itself is rad.
…And I do not understand how there is not a MODOK-level cult surrounding King Cadaver. Look at that character design! And not even a Wikipedia entry!
An equitable doling out of empathy to every one of a story’s characters is probably not a prerequisite for great narrative art. I’m sure counterexamples exist. But for a film about the making of connections and the difficulty therein, Her could have shown a lot more interest in the inner lives of people not named Theodore Twombly
(i.e. What was up with that Olivia Wilde scene, and was it anything more than a cheap narrative shortcut?)
— Kalpana Narayanan, “A Physics of the Heart: On Grief, M-Theory, and Skippy Dies” (via millionsmillions)
Moore’s book and Jonze’s film differ in too many ways to mention, but you can find in both leads who have wound up, professionally, in places they do not want to be, and who have failed to maintain relationships in their personal lives. Both works also attempt to balance humor and pathos, and Anagrams is wayyy better at it.
When I think about Her, I keep thinking about the story’s sex surrogate (I can mention that, right? It’s been out for weeks, and SNL went there), a character whose history and motivations almost have to be layered and complex by virtue of the position in which we find her, and who the film largely plays for laughs. (The crowd in my theater cracked up, anyway.) Whereas most characters in Moore’s book are figures of fun and tragic figures, and Moore doensn’t fail to examine the lives of others even when she’s sticking with (more or less) a fixed perspective. Bleakness of the outlook notwithstanding, she’s a more charitable creator than Jonze.