Without Joe’s perspective of the world he hates, there’s nothing – not even resentment – with which we can empathize. Joe is left merely with things we can’t condone. This doesn’t prevent it from stopping your blood with its performances. The depth of Cage’s eyes describes hurt in ways that words fail.
The first thing that must be clear about Her is that it is not satirical: its future is a believable take on a theme of hipster consumerism. Its people are realistically quirky. They are surrounded by fakery but they are not fake. They are peculiar and humane, rediscovering their spirits in a backwards world. Jonze excels at telling a story of us exaggerated into its essentials.
I have not in recent memory seen a film whose concept is more divergent from its filmmaking than The Cloverfield Paradox. It is a movie so dumbfoundingly predictable and yet so incomprehensible that it becomes meaningless even as an average film, a paradox only in the sense that its grand pretensions cannot occupy the same space as the need to connect a franchise that was never intended to be cohesive.
Every frame of The Wailing wades into dream space and out again. Nature in it becomes a backdrop not just to a murder investigation but to the primordial evils of human emotion that would make such an investigation necessary to begin with. We never know if people murder each other because of the anger pent up in a demonic spirit or just the anger pent up in themselves.
If Fantastic Four is supposed the be the story of a superhero family, the 2015 adaptation makes them seem as unsupportive as you can be before civil action becomes your only option. Not only do they see no beauty or meaning in their heroic endowments, but they are so quick to give up their integrity after the accident that you think, as you never should, that these people don’t deserve their gifts.