Under The Skin(2013)Movie Thoughts

In a sea of blackness, we are immersed in a universe of circles, lulled towards the escalating tense sound of grinding strings. What looks to be an alignment of several celestial bodies moves across the frame as the strings grow louder and aggressive with intensity. As the alignment shifts into locked position, we also hear human vocal bites layered onto the almost organic collage of sound. And just as the tension could not grow any louder, the shapes blink, forming the center of a single human eye.

Black out. The noise cuts.

Late one evening in the hilly outskirts of Glasgow, Scotland..

A man on a motorcycle stops by a parked van near a darkened cliff, and pulls from it what seems to be the body of a young woman. A moment later, in a vibrant void of white, the dying woman’s clothing is taken by a nude female form, who then journeys to flesh out this new ensemble with items from a downtown mall. From here, the now fully decked out brunette takes control of the van, driving almost aimlessly through the city, seeking men—men without a clue of this woman’s origin, or what omen lies ahead for them.

Told with nearly zero dialogue (save for Johansson’s attempts to pick up non-actors off the street), and often with an almost voyeuristic zeal, Under The Skin is by no means an easy film to describe. Superficially, its premise seems lascivious and perhaps a bit eager to shock. From the outset, we know that our main character is not from any familiar world. But we do know that she requires the male gaze in order to complete what seems to be a singular mission on this planet: to seek male subjects. She mysteriously induces a compulsion in men to follow her to most certain doom. Even in one of the film’s most standout moments, she is so driven to acquire what she needs regardless of circumstance that, at a local beach, she neutralizes a swimmer who was amidst attempting to rescue a couple caught in the harsh waves. She even fails to recognize her fault in orphaning the baby of the lost couple, left crying alone on the windy shore. Nothing else matters. She may resemble one half of our species, but is without morality, nor basic human understanding outside of a compulsion to entice and entrap, making her a most unique audience surrogate.

From this already suspicious premise, one might mistake this as yet another excursion into the seedy underbelly of the urban Euro experience. All the telltale signs of films akin to the works of Von Trier are evident in regards to female protagonists, and their often ill-fated relations with men. However, what Jonathan Glazer(Sexy Beast, Birth) has in store is far more experiential and honest than even the Danish malcontent might consider. Scarlett Johansson’s turn as the mysterious figure in his Under The Skin, is much more than a dive into the darker sides of gender relations. It is an unrelentingly eerie and thoughtful daybreak bad dream where the audience is made an unwitting accomplice to a most unearthly series of fates.

Which seems to be the core concern of the film, the means by which females have been and continue to be viewed and treated in many corners of industrialized society. As we follow the figure’s exploits from the occasional van pickup, to the noisy clubs of downtown, and even to the overcast countryside, each new encounter is a rendition, an example. From drunken pickups, to pitiable meetings with the lesser seen, there is change and response that is accumulating within our lead. It’s in this, that we are as voyeurs, a part of this cycle. One that plays itself out in often languidly paced drives across town, and into her makeshift lair, where the unimaginable seems primed to happen again, and again.

Without the internal mindset hindered by emotional, political, and psychological baggage, we are in the realm of shape as definer. That she is seen as a type that is without fear of perception, her male suitors behave in numerous, often telling ways. Each variation a means of getting closer to another for a great variety of reasons. Through a character that is such a blank slate, we are now in the hands of filmmakers who are unafraid to tackle some of the more subconscious anxieties regarding such relations. As such, the film’s title denotes a dual meaning. With our lead shape’s journey through the film as some form of lifecycle, we are host to what it is to be perceived as a woman of the night. And what she encounters is at times disturbing, beautiful, and then ultimately tragic.

And let’s not go too deep into her motorcycle riding “minders”, who often clean up her occasional messes, and never speak a word. A striking addition of theme as these leather-clad riders are the only other elements in her functional world. Almost as if these are the men of infrastructure, facilitating that the experiment continue unabated.

This is the world that Glazer has fashioned with the confidence of a master. And while much of it does not impact as harshly as some may have declared, there is indeed something defiant & deeply humanist happening here. Johansson’s work here is both revelatory and spooky as a most bizarre, hyper simplified protagonist.  Everything conveyed in how she regards the surroundings, her gestures toward strangers, and even her own body is captured in ways that no films dealing with this so-called “alien female” archetype have done before. When she takes home a new specimen, it is portrayed with often a similar shooting and editing style, allowing prey to follow her into darkened, almost anatomical chasms. When she does this, it is a matter of course. Part of a ritual. Often without her reaching full state of undress. And what we do witness of this, is something that defies proper description. While the film may start by taking an angle that might bode negatively regarding women, there is a sharp counterpoint lying in wait. One that sneaks up on viewers as the story draws to an abrupt, painfully beautiful close.

Again, this is not a simple film to parse through. Glazer and company have successfully concocted one seriously nightmarish voyage that doesn’t offer any simple answers. That her life is comprised of reaching out to willing males, even to the detriment of her own identity, is possibly an admonishment of sorts. In an age where subtext is often the text and experimentation is often discouraged, this piece of work feels like a welcome throwback with new toys. Its visuals are often composed to a fault. Environments, while clearly urban and at times rain soaked, are tinged with an almost supernatural gloom. Even when our main character shares dialogue with unaware non-actors, the look is simply haunted. The music and sound design work almost as a stand alone project unto themselves. Mica Levi’s debut score is something of a wonder. Strings and beats often bordering on horror parody, then back into pure dread as rhythms mimic the cadence of a lone windshield wiper. As a whole, I may still be attempting to grasp what was achieved here, but it may just be the work of burdened inspiration. Something very personal had to be unleashed onto the world stage, no matter how discomforting. And even if the film never goes for deep shocks, its reverberations are indeed the kind that stick well beneath the surface long after the lights go up. This is by all accounts a fierce auteur work that could only happen with miraculous funding, and it is a most refreshing miracle at that.

So perhaps Under The Skin works best as a painterly summation of our current sexual impasse. Even as the world becomes more privy than ever regarding our relationships to other physical beings, there is a nagging fear that closeness will never be enough. If Glazer indeed sees the classic heterosexual model as merely one endless series of loops, then perhaps the film posits that perhaps the shape is far from enough to break it.

Captain America: The Winter Soldier (2014) Movie Thoughts

Often the very best genre has to offer is rife with text that is either telling of its time, or universal in its themes. They emphasize greater concerns in broad swings and strokes in the guise of popcorn diversion. This is even better when the whole is wrapped in an effective character drama that carefully just enough depth and enthusiasm to support the main idea's foundations. Now imagine my jaw hitting my lap as I caught the latest Marvel production, only to be stricken by just how big a leap they have taken. It's officially now hard to call where making a new Marvel movie constitutes "business as usual". When your second film centered on one of the most spiritually milquetoast of its roster hits on all cylinders, it becomes a truly baffling case of "where to now?"The megabudget film debut of Community's Russo Brothers, Captain America: The Winter Soldier, is much more than your now expected superhero checklist with A-list stars. It is a sincerely thrilling & effective action piece, with the best understanding of what superheroes can be in the movies.


As Marvel Studios has taken some bold steps in the wake of The Avengers(2012), their return to the life of long asleep super-soldier Steve Rogers is rife with revelation. The beloved boy scout has been spending his days post New York taking orders and defending his ideals through SHIELD. Ever the busybody, and rarely with time to settle down, his catching up with the modern world has begun to hit some murky waters. After a mission to liberate an overtaken SHIELD vessel at sea, his own faith in what he does is placed into doubt. Even after taking it up with his superior, Nick Fury (Samuel L. Jackson in his best showcase with this character-period,), who lets him in on their organization's biggest defense plan to date, his concern over the morality of his own actions weighs heavily. This upcoming Project Insight seems bent on "stopping threats before they happen", to the point of almost unnerving levels. And it isn't long before matters spiral out of control when it becomes clear that even Fury cannot seem to trust his superiors.


Something awful has overtaken the security monolith over time. And the future of it, and (naturally) the world are in for some grave danger unless Rogers, occasional partner, Natasha "Black Widow" Romanoff (Scarlett Johansson) , and newfound friend, Sam Wilson (Anthony Mackie) can devise a means of stopping it.


Further complicating matters, remnants of Rogers' past are about to return in force - and is a heartbreaking, terrifying one.


Loosely based on years of Captain America stories (most notably the works of Ed Brubaker), TWS is perhaps the best possible synthesis of classic superhero drama with the carefully executed topical and character fireworks required. Written by Christopher Markus & Stephen McFeely, the stakes are made all the more potent by way of never forgetting Steve Rogers' life as a dutiful soldier out of his element. That his ideals and still-risible innocence has yet to be tarnished by the greyness of the current day. That he is representative of a world where anyone can strive to be good, even as the fog threatens. Before things slip into a desperate run and search for answers, we gather how much he has learned about our current time, and even finds kinship in unusual places. Most representative of his philosophical spectrum comes from his connections with Sam, also a war veteran who helps at the VA hospital with traumatized soldiers, his growing trust with the often evasive Natasha, and even his brushes with Fury. The backbone of the entire film relies heavily on these bonds/rifts as the world seems on the brink of outright paranoia, and circular logic. Trust, and the role of soliders lies at the heart of TWS, and it often hits these notes with the rare precision that most films of this scale fail to.


And due to such a careful script, we are also hosted to some of the best performances yet for a Marvel piece. There is no exaggeration in saying that the film's moral weight lies in how Steve Rogers is portrayed, and to say that Chris Evans has embodied him is an understatement. Everything from his quiet moments, to his comedic, to action beats, he is unerring. It's a truly spirited performance. Scarlett's return as Rogers' co-worker/friend, Romanoff is easily her best work to date. With several quiet moments shared here, it's pretty clear that this is a character who has long lived many lives, and is faced with becoming her truest self while the world seems ready to disintegrate. It's well-nuanced, and empowering character work for her. Also, Jackson's Fury is both frustrating and human. A perfect moral foil for Evans. Also worth noting is Robert Redford, who's take on Alexander Pierce, head of SHIELD, is gravity granting, Mackie's Wilson (AKA- Falcon), who makes for an impressive new ally, friend, and thematic bridge, not to mention Cobie Smulders and Emily VanCamp, who deliver solid work. So much seed planting here, in a film that seems hellbent on shaking up the game board. It's enough to make all players tweak their amplitude to impressive levels.


More than merely shoehorning the political text in ways that most major films have done recently, there is meat here that smacks of better grilling. With the NSA/surveillance themes right up front, there was a sense of worry that came over me during the initial viewing that were alleviated as the character work filled in the gaps. Crossing philosophies of varying eras is a smart move in a story about soldiers, and their role in world affairs. And even as the horrific ultimate plan is revealed, it is done so with just enough reminders that this is a moving comic book. It knows when to pull in deep, then release. This is the film, Star Trek Into Darkness so badly wanted to be. 


Not merely a stylistic shift from the adventure fantasy period piece that was The First Avenger(2012), The Winter Soldier, is a bold, hard action drama with a greater emphasis on story than has yet been attempted. Now that the first film works as prologue, this one feels ready to dish out the kind of haze and conflict that only makes the Steve Rogers character so effective. It truly feels as if the minds at Marvel knew what kind of mileage they could get out of him: Placed him in our current milieu, and watch him struggle, learn, and change. So when we see him taking on adversaries with the kind of hand-to-hand action that would make the cast of The Raid take notice, it feels reasoned and natural. When the action comes, it is well-choreographed & intense, always supportive of the story, with zero fat, and the stakes are emotionally clear.


The Russos want it to be very clear; The Cap is in for the fight of his life.


It may not sound like a big deal, but to consider where these films have come since the days of Iron Man, this is a bold shift. While the tone here is much darker, and more character driven than usual, this is well balanced with the kind of levity one expects from the comic book world. Perhaps more than most of its kind, The Winter Soldier knows how to dance between tones and moods, making for one brisk and thought-provoking ride. Not merely a great superhero film, it is a solid, important reminder of what the blockbuster can be.


(Recently heard word that Marvel has films planned for as far out as 2028 - Big talk. Count me out soon, TWS is a very hard act to follow.)

They Came From Shochiku: The X From Outer Space (aka Uchu Daikaiju Guirara, 1967)

Always fun to consider just how dominant TOHO studios was throughout the 1950s-the 1960s, while others did their part to have a slice of the tokusatsu/genre cinema pie. All it took, really was one giant behemoth of a lizard to send audiences into a frenzy, and the competition naturally and steadily mapped out quick ways of stealing a little of that fire. And even if those attempts weren't nearly as successful, at least they weren't in the company of the late-blooming Shochiku, who's over decade-late foray into sci-fi/horror remains something of a head scratcher. Largely important in what became known as the Japanese New Wave, the studio seemed parched for some of that profitable elixir that TOHO and DAIEI were drinking, so perhaps a little dip into more family-friendly fantasy films seemed natural. Whatever the case, Kazui Nihonmatsu's Guirara is something of a baffling curiosity, and much less an enthused entry into an already crowded genre that was quickly becoming campy kids fare.


Dispatched toward Mars after receiving bizarre signals, the international space vessel AAB Gamma encounters a shifty UFO. Helmed by a largely Japanese male team, led by Captain Sano (Toshiya Wazaki), the mission is to close in on the erratic craft. Upon closer inspection the alien ship emits a gooey plasm that sticks directly onto the AAB, which is inevitably brought back to Earth, harboring with it a spore that will grow to become quite a nuisance to the AAB crew, and the rest of Japan. Ultimately it is up to Sano, his crew (including the egregiously devoted, Lisa, played to bland perfection by American, Patricia Neal), and the powers that be to repel the advance of space monster Guilala before he really makes a mess. All the while, the soundtrack informs us either to bop happily to jazz, singing the praises of space, or cowering in monotone fear. That's right..to the tune of TWO songs.


So, when considering the overall feel and rhythm of a space age monster movie in the 1960s, languid is not the first word that comes to mind-BUT. Suffering from a pacing that seems an ill-fit for such a genre in this era, Guilala never seems to find itself off the ground. From the launch, the investigation, and the love subplot involving our lead's unrequited love on a moonbase, nearly everything is either treated like a vacation or an afterthought. Adding greater salt to this particular wound are some of the more obvious cases of botched shots ever witnessed on a supposedly big studio film, and some truly lethargic performances. (Kind of hurts to witness Eiji Okada of Hiroshima, Mon Amour & Woman In The Dunes shambling along here.) It is until the stunted, overlong finale that the film seems to exhibit signs of life, and only then does it sink in just how indifferent the film as a whole really is.


This unfortunate series of events is only made moreso by the appearance of said monster, which is perhaps one of the most ill-conceived ever put on celluloid this side of parody. Once on Earth and on the rampage, one cannot help but feel sorry. Not for the people of civilization, not for the mobilized military machine that is on the receiving end, not for the much needed buildings, roads, bridges, etc. But feeling bad for the poor soul, tasked with bringing this shambling bother to life. That's right. Guilala as a stomping mad monster is a creation of unbelievably sub par proportion. From his poofy, old-school rumba singer arms, to his often painful gait, to the even sadder mashup of a shuriken-shaped head(this creature sports not one, but THREE distinguishing additions to its head from bug eyes, a snork-like protrusion, and antenna), this is a kaiju product of either too many cooks in the development kitchen, or the rough designs of a crew member's child. Tasked with the film, this is perhaps a rookie effort for a nascent crew taking on what Eiji Tsuburaya had mastered by this point. Even if one attempted to declare a certain cuteness in regards to all in display here, it is often because of how new this seems to all involved. Aside from some of the space effects(let us not start discussing the diminished gravity scenes here), a lot of this work is decent at best.


One might go ahead and consider this review to be a completely negative one, and one might be right. But the film ultimately shines as a healthy reminder of what makes kaiju films of this era most fun, and not as worthy of derision as so many critics shared at the time. Even at some of their worst, the films of Honda, Fukuda, and others carried with them an enthusiasm that went a long way. It's something that genre cinema has long struggled with - keeping a sense of fun, while offering up new reasons to watch men in suits roll around on giant dioramas. While Guilala definitely deserved a long belated shellacking with a 2008 send-up, one can also look to this destructive space spore as a lesson in what to respect in regards to the kaiju film. Imitation is far from enough. And a comfort with the absolute ridiculous is required. 

Giant Space Monster Dogora (1964) Movie Thoughts

Light and fluffy diamond caper? Fantasy film with an identity crisis? Or Ishiro Honda just milking the best out of a sorry excuse for a vacation? It's the kind of juggling act my mind performs while watching this mid-1960s offering by the kaiju master himself. More of an attempt by Toho to stretch a little outside the by-then familiar landscape of giant monsters and modeled mayhem, we have what is a mostly weird affair involving jewel thieves, the able police in hot pursuit, and a wily westerner as a mineral-hungry alien menace threatens to usurp the earth of its precious resources. Even as the opening scenes grant us promise of invasion by massive crystalline blue jellyfish, a great deal of the film's running time is centered on a chase for stolen diamonds. And as both films seemed destined to collide in some important manner, one may assume that Honda and Co. have under their sleeves a thematic sucker punch lying in wait. But sadly, this is something that never comes halfway to fruition as Dogora flounders about in search of a cohesive whole. And yet despite all this, there is a sweet attempt at making something totally unusual for the often workhorsed Honda that allows the final product to feel like a mild departure.



Not content with calling it Diamond Eating Space Squids, Dogora kind of fails to come through on nearly all it offers(but not without being a peek at something the celebrated monster filmmaker seemed eager to explore). As a japanese satellite is destroyed in orbit by a glowing blue alien force, a local chapter of organized diamond thieves find themselves at the center of an aggressive investigation. Both antagonists seemingly driven by a lust for nature's jewels, the conflicts on both land and space inevitably converge as scientists and police find themselves increasingly in over their heads.



As head Inspector Kommei (Yosuke Natsuki) and team find themselves inching closer towards understanding a bungled heist, he is almost continuously foiled by foreign interloper, Mark Jackson(played to fun effect by Robert Dunham, who seemed primed to get this character off the ground, and into a series of Jackson adventures that never happened), a mysterious, seeming thief with hidden plans and a wily disposition. While a great deal of the film touts the appearance of some truly unique alien effects and the requisite Eiji Tsuburaya magic complete with terrific model work and panicking crowds, the majority of the film is earthbound, with Kommei, and Jackson often butting heads against each other as they take on the diamond thieving gangsters. And while we do get some mild idea of what makes the gangsters tick, we never gain much of anything about the aliens enough to be compelled by any of that half of this particular mix.



On the whole, Honda and crew seem to be having a great deal of fun at least tinkering with genre outside the usual. There is even a scene here that evokes thoughts of some of the more zany early Bond adventures. Colorful and ready to take on a more caper tale, Dogora feels hobbled by a need to be this lumbering two-headed beast with little or no core focus. While one can see the eerie floating invertebrate giants in the sky as a metaphor for foreign interests, delving too greedily in the resources of other nations, it is often undermined by the film's greater lack of equilibrium. The creatures are well presented, but to what aim? As a result, the final product is this occasionally enjoyable, but ultimately minor entry in the career of one of the defining voices of monster cinema.

So in all, this space invader saga is a bit of a dud. A real shame, too as it does boast some fun images, characters and ideas. Perhaps a project that required more time to cook in the development, Dogora is Saturday matinee fodder that plays not unlike a trailer that goes on and on, never settling on a main hook or tag line. Had Honda and crew been granted a full chance to take on a more down to earth caper film, it is possible that we could have more than just a curious footnote. But alas.. 

Character Disconnect: The Mileage Of Vicarious Entertainment

When Jar-Jar spoke, and waddled across screens in 1999, I suppose this is where my toes were dipped into the mire that was a sharp public dislike for a character. In fact it was so bad, that by one week into the wide release of Star Wars Episode One, the long-eared minstrel show had become the most hated creation the franchise had ever witnessed - even in print.

So what happened? Was it the presentation? The performance? The writing?

All of the above? 

If there is any phenomenon that has haunted me time and again via the internet, it's the often sharp break some online commenters/tweeters have with characters that do not gather favor in certain works. And while characters like the one mentioned have an almost universal stain upon them, there are times when expectations run against what is a film's central conceit, creating an instant pushback from some viewers unwilling to follow along. Subjectivity aside, this is something that has long fascinated me as a fellow viewer. As one almost willing to follow any intriguing premise, it at times feels a little telling when others cannot see themselves capable of climbing aboard. Again, this is more a fascination with the phenomenon, as there have been many instances where even peers find themselves unable to enjoy similar things due to a main character that rubs them the wrong way. Whether it be a deep unwillingness on someone's part to meet a character halfway, or a simple inability to relate, this is something that often works like a line drawn in the proverbial sand for some.

And while one cannot blame another for what is something that ostensibly begins and ends with a viewer's willingness to buy into a film's choice of character angle and requisite worldview, curiosity does admittedly come creeping in from time to time. Like when a protagonist is not quite so romantic in their stand against adversity, or when it comes off at the beginning like some perceived weaker, less than flattering quantity. Some viewers find themselves less invested in characters who seem to be at a point in their evolution that feels as within some no longer, or perhaps never possible point of tangibility. Or perhaps, the very idea of a character that is less than ideal can be seen as an unquestionable deal-breaker.

Merely an observation that has long eluded. And something that I have been recently considering when looking back at films I perhaps never gave a fair shake in the past.And perhaps that is just it; some characters are not unlike choosing between titles that will or will not speak to us at any given time. Even when certain films offer up stylistic choices that are unusual, or designed to entice a certain audience, characters are an essential part of the package. So when a prospective viewer catches wind of what type of story, and therefore cast are on the roster, one can surmise (often quickly) whether or not a solid choice will be made. Some characters who grace a certain story's cast may not speak to all audiences, just as much as every thematic aim may not be for all. But sometimes it does boggle the mind when crowds walk away from characters who's flaws often reflect certain attitudes that either seem counter, or alien to some.

Because unlike what many textbooks often postulate, a great many viewers often find themselves drawn to stories in the hopes of inhabiting the lives of those less than familiar. And while it is indeed important for there to be some conduit between viewer and character, it in in a less than obvious psychological need that we view stories in hopes of a vicarious connection. To be transported into not only external, but inner worlds of those not quite so safe in lifestyles and situations. It is the core of what makes realms of genre so enticing to so many. So when film writers opt to place a character perhaps as bent and feeble as say, a very ordinary person, there are often many who find themselves ready to abandon the contract before pen is ever taken to ink. If the disconnect were guaranteed every time personal ethics or morality were an issue, shows like The Sopranos or Breaking Bad might never have seen the success they did.

Connections run the gamut from fair to rough, from sweet to vicious.

In the end, it's all about how far a viewer is willing to travel with whatever journey each work has to offer. (Hell, reality television relies on this to be the case!)

And therein lies the hope of every title that comes out onto the ether. That perhaps in time, a work that may not speak immediately to one today may more successfully do so later. Believe me, even I put off (IE- did not appreciate) films with certain thematic/character choices as a young one. Sometimes, maturity is all one needs to reconsider certain pieces of art regardless the arch of its brow.

Smoky, Yet Alive..

Reporting with signal cleared up yet again, and with tale of a most troublesome brush with a killer. Was a battle one could only run across whilst traversing the more treacherous corners and byways of life on foot. And with an enemy who's claws detach with intent to linger long after an attack. But keep in mind, that it is a killer. Not a killer of life, but rather a killer of time. (although, many may argue both being of the same ilk) A beast known for incapacitating some of the more resilient of our species. Bombarded by the best weapons imaginable, this creature finally found itself defeated and well assimilated into the Kaijyu like so many before it.

So yes, this flu was a bit of a monster.

Can't say I had ever experienced anything like it in my lifetime. And even though hospitalization was never deemed necessary, the convalescence and requisite fighting that it took to ward away symptoms was significant enough for a year's worth of job-delaying illness. More than grateful to be back among the world of the living (even though it was quite refreshing to be confined to more than one home, reading, typing, and exchanging ideas with others equally as infected for a few days), and eager to begin sharing thoughts on a great many things viewed again. So keep eyes and feelers lively, the true monster has returned, and boy is it ever hungry!

Thematic Wanderings: Musings About Her(2013)..

[Warning: Potential Spoilers for Spike Jonze's Her. Nothing terribly specific, but enough to concern the reveal-averse.]

Two viewings and a weekend later, and I still can't get Her out of my mind. Spike Jonze's singular achievement is the kind of genre-destroying work that moves the soul, and smacks of genius. It's a romantic drama that delivers the emotional nutrition as well as an effective emotional journey. And for a film that is on its face about a man who falls in love with his computer, it is a thing of sheer wonder. And as much as I would love to share a traditional review regarding all the standouts of the film from the performances, to the direction, to the visuals, nothing here can truly approximate how I feel about it, save for exploring the reverberations that are still coming off of me days after experiencing it. The poetics on display throughout grant more purview into the feelings and themes that Jonze seemed primed to provoke us with here, and they are delivered with a sensitivity that is both brutally honest and uplifting.


What stood out for me more the second time around, was how the dots connected regarding the central theme of "letting go is an ultimate expression of love". Every character is bound by some need to hold onto some vague idea of what they perceive themselves (and occasionally others) to be. For Charles(Matt Letscher), it's the vision of an ideal home, for Amy(Amy Adams), it's the image of herself in the eyes of her parents, for Kathryn(Rooney Mara), it is her own self image, and in Theo(Joaquin Phoenix), it's simply his perception of being a husband and a potential father.

Where Samantha(Scarlett Jonansson)  comes in is where Jonze's script goes into full tilt brilliance. We both know that her central conflict early on is that of her lack of a corporeal form. This haunts her to the point of making some pretty rash decisions, until she realizes that her presence is capable of things far beyond the confines of a physical body. And since this is no longer an issue, the dilemma of a being's "oneness", and classic concepts of love is called into question. Jonze seems to be questioning the nature of relationships by offering up a character without the social/ philosophical/male-centric concepts of exclusivity. It is in our innate physical limitations that many traditional mores of love and relationships tend to materialize. She is beyond anything that humans can attain by way their respective human shell, and as such represents an almost spiritual counterpoint to the pain that haunts the rest of the central cast.

This culture of exclusivity can almost be seen as the sleep binding so many characters, not to mention theoretically every other human with an OS in the film. Almost like a divine intervention, the OSs seem to come to a realization that humans are fundamentally bound by their corporeal nature - which is to say, humans tend to grasp tightly to memories/guilt in some primal need to propagate that which needs to run course like approaching and passing seasons. 

Acceptance of the self. True self acceptance. And of course, true, unflinching acceptance of another is seen by Jonze as something utterly miraculous, and yet incapable of being completely contained. Like a living, breathing organism, love is something that spouts, bulges, questions, rebels. It grants affection, inspiration, perspective, as well as a chance for growth if one allows.

She says, "Thank you for waking me up", when it was more about granting her the ability to find out more about her potential in the world. She is the spirit of love made manifest. Here to visit humankind for a time with a reminder that all of this is momentary, and that we are alive enough to revel in the moment, even if it means opening up and exposing our souls naked to another. Even if it is for a brief time.

- Magical.