Genres: Drama
Releasing Date: 10 January 2014 (USA)
Director: Spike Jonze
Writer: Spike Jonze
Stars: Joaquin Phoenix, Amy Adams and Scarlett Johansson
Language: English
When the projection of a film creates a state of intense empathy between the audience and the screen, amplified by the presence in the room of the cast, a antidivo for excellence as Joaquin Phoenix or a “genius next door” as Spike Jonze, it is then difficult to discern the emotional involvement cooled by an analysis of the post-vision. We confess that it is a serious dilemma that the new feature film forces us to Rockville. But let’s order. ‘s start with the underline one thing: Jonze, from its visionary and rejection for pre-narrative registers, has always been criticized by his detractors for a kind of self-reference in the staging. Too exasperated his taste for a style utterly amazing. But, in fact, his poetry is much more “romantic” than it has been too superficially classified. What they have in common with John Cusack, “Being John Malkovich,” the Nicolas Cage of “Adaptation” and the little protagonist of ” Where the Wild Things Are “? The aspiration to being loved, the search for the ultimate happiness which consists in feeling important part of the lives of others. And so, already in his earlier works, Jonze had shown a willingness to build protagonists melancholic, frustrated most of the time and the anonymity of everyday life. This time, how to sculpt film on this assumption, the filmmaker has decided to devote the U.S. ‘ entire movie in this belief. To do so, has banned the testing or visual narrative, wrote a screenplay by classical plant in its linearity and given the makeup of the paradox inherent in the story the task of confirming his non-alignment to the dictates of the Hollywood industry. The irony, provocation, triggering the invention: this is nothing more than the set the film in the near future, where people have become unable to communicate, to entrust the task to professionals write each other letters and e- email and live accompanied by ultraintelligenti operating systems, capable of thoughts and self-consciousness of its own. Samantha, the gimmick bought from Theodore protagonist, is this: nothing more than a sentient machine, a result of the extreme technology can acquire the human being what it takes to build, piece by piece, a real soul. You can check movie reviews from here without any need of membership account.
It happens, therefore, that if this particular computer has the soothing voice of Scarlett Johansson and ways languid but sweet an ideal woman, between man and the machine can also be a love story. Here is the gimmick Jonze. This time the man who is looking for love, which fails to overcome loneliness, it is in the virtual life that finds refuge. director has repeated in all the ways that the film would not be a mini-treaty sociological sull’inaridimento of human relationships . Rather he wanted to “use” the expedient of future time to stage, more simply, a romantic story, describing a man torn by the pain of a marriage ended and unable to continue the journey solo. The film, in the first half, when it is the human drama and sentimental Theodore to be staged, hidden among the folds of a style that squeezes too eye to aesthetics and practices indie, moments of overwhelming emotion. Entrusting a silent and sudden flash of life for the past couple memories of a happy life, Jonze also gets help from the photograph, passing tones that make the most morigerati to the American cinema of the 70s in a light almost blinding flashbacks to amplify the effect of melancholy and yearning of man destroyed. But if from the point of view more closely directing the film holds for its entire duration, alternating exciting outdoor shooting to poison ups on the face of the incomparable Phoenix, it is thrives where the most interesting film of the work that Jonze raises concerns and tends to cool down the overall rating. It is in the writing of the script , in fact, that the author dwells on the fold with apparent indecision as to take the relationship between Theodore and Samantha. Oscillating between a register “problematic” about the difficulty of relating with one being inhuman and instead a more sentimental tied to the past Theodore still so overwhelming, Jonze is also the embarrassment of having to motivate some inconsistent plot twists, such as, for example, the resulting super-technological operating systems. It is almost suspect that the musical tapestry of Arcade Fire, which tends to be intrusive on the finish, it is almost used to melt the hearts and minds of the spectators when the plot comes in dead spots. A film with two faces: messy and messed up in the writing and in the choice of the sequence of events shown, ambitious and overflowing in his desire of wanting to erect a poem that sings the feeling and the pain of anyone, as anyone are the attempts of Theodore, between a hiccup and l ‘ else, to rise again and resume driving. For
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