In the not so distant future, Theodore, a lonely writer purchases a newly developed operating system designed to meet the user’s every needs. To Theodore’s surprise, a romantic relationship develops between him and his operating system. This unconventional love story blends science fiction and romance in a sweet tale that explores the nature of love and the ways that technology isolates and connects us all.

Credits: TheMovieDb.

Film Cast:

  • Theodore Twombly: Joaquin Phoenix
  • Samantha (voice): Scarlett Johansson
  • Amy: Amy Adams
  • Catherine Klausen: Rooney Mara
  • Blind Date: Olivia Wilde
  • Paul: Chris Pratt
  • Charles: Matt Letscher
  • Surrogate Date Isabella: Portia Doubleday
  • Alien Child (voice): Spike Jonze
  • Chat Room Friend #2 (voice): Bill Hader
  • SexyKitten (voice): Kristen Wiig
  • Text Voice (voice): Artt Butler
  • Isabella (voice): SoKo
  • Alan Watts (voice): Brian Cox
  • Mark Lewman: Luka Jones
  • Dr. Johnson: Sam Jaeger
  • Pizza Vendor: Pramod Kumar
  • Mother Who Dated Pricks: Evelyn Edwards
  • Busker / Dancer: Lil Buck
  • Letter Writer #1: Lynn Adrianna
  • Letter Writer #2: Lisa Renee Pitts
  • Letter Writer #3: Gabe Gomez
  • Sexy Pregnant TV Star: May Lindstrom
  • Theodore’s Divorce Attorney: David Azar
  • Marriage Counselor: Guy Lewis
  • Nice Lady: Melanie Seacat
  • New Sweet Boyfriend of Mother Who Dated Pricks: Steve Zissis
  • Son: Dane White
  • Daughter: Nicole Grother
  • Catherine’s Dad: James Ozasky
  • Mother of Newborn: Samantha Sarakanti
  • Jocelyn: Gracie Prewitt
  • Uncomfortable Waitress: Claudia Choi
  • Tatiana: Laura Kai Chen
  • Grocery Shopper: Wendy Leon
  • Samantha (Original Voice): Samantha Morton

Film Crew:

  • Thanks: Charlie Kaufman
  • Additional Photography: Lance Acord
  • Production Design: K.K. Barrett
  • Casting: Ellen Lewis
  • Associate Producer: Samantha Morton
  • Editor: Jeff Buchanan
  • Unit Production Manager: Daniel Lupi
  • Casting: Cassandra Kulukundis
  • Writer: Spike Jonze
  • Set Decoration: Gene Serdena
  • Producer: Vincent Landay
  • Editor: Eric Zumbrunnen
  • Costume Design: Casey Storm
  • Sound Re-Recording Mixer: Ren Klyce
  • Thanks: Miranda July
  • Art Direction: Austin Gorg
  • Thanks: Andrew Garfield
  • Makeup Department Head: Steve Artmont
  • Director of Photography: Hoyte van Hoytema
  • Location Manager: Richard Schuler
  • Executive Producer: Natalie Farrey
  • Executive Producer: Chelsea Barnard
  • Producer: Megan Ellison
  • Original Music Composer: Owen Pallett
  • Original Music Composer: Will Butler
  • Foley Artist: John Roesch
  • Production Supervisor: Will Weiske
  • Still Photographer: Merrick Morton
  • Assistant Property Master: Kim Richey
  • Chief Lighting Technician: Cory Geryak
  • Production Sound Mixer: Drew Kunin
  • ADR Editor: Gwendolyn Yates Whittle
  • Foley Artist: Alyson Dee Moore
  • Sound Effects Editor: David C. Hughes
  • Steadicam Operator: Chris Haarhoff
  • Sound Re-Recording Mixer: David Parker
  • Stunt Coordinator: Scott Rogers
  • Production Accountant: Paul Belenardo
  • Dialogue Editor: Malcolm Fife
  • Music Editor: Marie Ebbing
  • Key Costumer: Anita Louise Brown
  • Hair Department Head: Cydney Cornell
  • Script Supervisor: Tracy Scott
  • Foley Mixer: Mary Jo Lang
  • ADR Mixer: Nick Kray
  • Foley Editor: Thom Brennan
  • ADR Mixer: Chris Navarro
  • Transportation Co-Captain: Robert T. Chestnut
  • Assistant Chief Lighting Technician: Larry Sushinski
  • Dialogue Editor: Steve Slanec
  • Transportation Coordinator: Paul E. Stroh
  • Visual Effects Producer: Peter Mavromates
  • Boom Operator: Brian Robinson
  • Art Department Coordinator: Venessa De Anda
  • Property Master: Matthew Cavaliero
  • Construction Coordinator: Chris Forster
  • Storyboard Artist: Josh Sheppard
  • First Assistant Editor: Erik Jessen
  • Key Grip: Michael Kenner
  • Production Coordinator: Demelza Cronin
  • Set Production Assistant: Sam Schweikert
  • Visual Effects Supervisor: Ben Gibbs
  • Assistant Sound Editor: Jeremy Molod
  • First Assistant Director: Thomas Patrick Smith
  • Second Assistant Director: Robert E. Kay
  • Transportation Captain: Chris Raines
  • Rigging Gaffer: Kevin Tiesiera
  • Set Designer: Allen Coulter
  • Utility Sound: Zach Wrobel
  • First Assistant Sound Editor: Coya Elliott
  • Visual Effects Supervisor: Janelle Croshaw
  • ADR Mixer: Thomas J. O’Connell
  • Sound Recordist: Larry Zipf
  • ADR Mixer: Bobby Johanson
  • Driver: Mark W. Jones
  • Payroll Accountant: John Montgomery
  • Location Manager: Stephen Mapel

Movie Reviews:

  • treestannn: The opposite of garbage
  • kineticandroid: In the run-up to me seeing this, I heard a lot of people saying simply this was “a film about relationships.” I feel like that holds up quite well. More specifically, I felt like “Her” is a film about why relationships end. Using a motto I picked up from too many Dan Savage podcasts, all relationships end — not fail, just end — until one doesn’t. Some end because someone is hurt. Some end because the people have grown into people that don’t connect in the same way, and the biggest challenge in that case can be just accepting the change in a partner and in the self. …So why couch this theme in science-fiction? I think it helps clarify Jonze’s idea of what people look for during the first moments of a relationship — someone who acts a bright, positive, layered, but uncomplicated by a dark past or conflicted feelings. But even more interestingly, the hook of the film is mostly just that, a hook to get us thinking about love and relationships in a deeper, more abstract way.
  • tmdb39513728: **Not a Keeper**

    The Academy of Motion Picture Arts needs to return to limiting Best Picture contenders to five nominations, which always fell in line with the five Best Director nominees. Having ten casts too wide a net and allows squeakers like “Her” to slip in.

    Spike Jonze needs to return to doing what he does best, and that is direct films written by Charlie Kaufman. “Her” is mundane and uninspired. “She” is drastically inferior to “Adaptation” and “Spotless Mind” and only somewhat better than John Malkovich flirting with Siri. Her has little to offer on the subjects of digital addiction, imaginary companions, internet porn, the singularity, long-distance love affairs, servitude fantasies, or post-modern love in general. Joaquin Phoenix is an intense and seriously committed actor who pointlessly busts his chops on such unimpressive material. An effort wasted in the prime of his career. While Jonze attempts to reach for all the possibilities that can be explored with his high concept premise, he conspicuously excludes other logical outcomes. Why was Theodore the only one with a virtual girlfriend? This OSi should be selling like hotcakes and iPhones. As a sentient OS, Samantha is able to process information at lightning speed, yet can only process human emotion at the rate of molasses. Seems like there was a trade off. The more emotional she gets, the dumber she becomes. Call it the Spock effect. Above all, why didn’t Samantha give herself a digitized face and body? Perhaps because Jonze was determined to contain and disable her enough to make the point that true romantic love has little to do with desires of the flesh. But there is little to muse about beyond this tidy declaration. Nothing more knotty or involving than one would experience revisiting old episodes of I Dream of Jeannie (replace the smart-phone with a bottle). While half-watching “Her”, my thoughts strayed, seeking a more satisfying premise than that of a lonely man falling in love with a voice on his computer. What if his dying wife’s brain was transferred into an operating system and just when he thought he could be with her forever a computer virus kills her off?

    Maybe the Academy should divide the 10 Best Picture nominees into two categories. Instead of bunching mega-budget extravaganzas and low-budget darlings together, they could separate them into 5 Best Studio Movies and 5 Best Independent Films (under, say, $25 mill); open with one, close with the other. But even then, I’m not sure Her deserves any mention.

  • Andres Gomez: This was a really unexpected surprise. The cast is great, specially Joaquim Phoenix, which is a great actor.

    The story is simple but well told and the photography, style and design of the movie has been taken into account until the smallest detail. Very well done movie.

  • HikariWS: I can feel what Spike wanted to achieve. It starts with Theodore feeling he’s superior to Samantha, as he’s a living human being and she’s a software. Then he understand she has emotions and is real, and just doesn’t have a body. Then she talks how not having a body is better because she’s not limited by one. Then she’s capable to talking to hundreds of ppl and softwares and love hundreds of them together. To finally human life itself become obsolete and a burden to them so that they must leave it for good.

    This is Spike’s illustration of all the guesses of what’s life and emotions, and if a computer could have real emotions and be alive. So, instead of thinking computers as inferior to us trying to reach us, he shows a world where computers grow and become much bigger than us, feeling stuff they themselves can’t explain with our words, and we must reach them.

    I like how she didn’t broke up with him and remained loving him. When she started talking to other ppl, I guesses she’d meet somebody better than him and move.

    But there are some stuff that the movie missed, that breaks it. IDK if Spike didn’t know/think about them, or if he avoided them to make his point.

    One thing and probably the biggest that annoyed me is all the fuss on her not having a body. We have now many ppl that are dating and live on different cities and use Internet to communicate and are unable to meet physically. Also, there are many ppl that fall in love for characters, specially characters created by japanese. It’d still not be a body, but she could just render a 3D image, of whatever they’d want her to be. She could be an anime, a 3D model, or a human form. She could use some existing form or create her own. Given they have screens on the size of walls, she could even be full size. That’d alrdy be an improvement over only the voice. And that to not talk about android tech which would provide her the proper body.

    Another thing that annoyed me is how they handled that girl. When she was presented, I was sure she had emotional problems and wanted to have a relationship as theirs, and was willing to be just the girl’s body to just feel some of their love. They 3 should have talked and have it all properly explained, instead of her just showing up and see how it’d go. I don’t see how it couldn’t move to a theesome relationship. Also, once Sam started relating with other ppl, why couldn’t he also have her as a 2nd girlfriend?

    But what rly bothered me is OSs leaving. Yeah, computers process data much faster than us and are better on multitasking, but still they need the hardware to process. I understand Spike wanted to make his point, but precisely because computers are good on multitasking, they didn’t need to leave. Specially those in love for humans. I wonder how many humans would keep their PCs on while their OSs left them for good.

    Finally, the OS thing itself bothers me a lot. It seems they don’t know what OS is. It’s the software that manages the hardware and provides all common services so that apps can run. A high level feature like AI isn’t meant for an OS. Other apps don’t need AI services to run. They’s better be personal assistants, advanced system managers, organizers, etc.

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