Amy Adams and Joaquin Phoenix star in “Her.” (Photo credit: Merrick Morton/Warner Bros./MCT)

‘Her’ is a wonderful kind of crazy

She learns. She understands. She feels. She isn’t human. And that’s hardly the craziest thing happening in “Her,” Spike Jonze’s latest directorial creation.

You see, our protagonist, Theodore Twombly (a beautifully restrained Joaquin Phoenix), is gripped with depression, though he doesn’t know it. He even says, “I think I have felt everything I’m going to feel, and from here on out I’m never going to feel anything new.” Dark, right?

He may be saying that because he’s in the process of having his divorce with his wife (Rooney Mara) finalized. He clearly still loves her, which leaves him confused as to the reason for the divorce, but it’s also just as clear Theodore doesn’t know how to interact with human beings. It’s not surprising his wife, once vibrant and lively, now feels emotionally damaged.

We quickly figure out that Theodore is not the type to share his feelings all too easily. In fact, he seems to pull away quicker than he’ll get close to you. Which is completely at odds with what he does for a living: He’s a writer for a company that sends letters and well-wishes to complete strangers. Theodore’s letters are thoughtful and warm, expressions he has trouble showing in real life.

So, when a new operating system promises to have a sentient A.I. that will grow and learn as it observe, Theodore buys one. The A.I. is named Samantha (voiced by Scarlett Johansson), and it does seem as if she’s perfect for the human-shy Theodore. She’s there to listen and comfort and even make him laugh. Dates occur (thanks to a small camera showing Samantha everything Theodore sees.) With so little distance or secrets between the two, it doesn’t take long for their relationship to deepen, which inevitably leads to sex entering the picture.

The film, directed and written by Jonze, shows off his ability to delve thoughtfully into the high-concept ideas that comprise human relationships. “Her” takes place in a futuristic L.A., shiny and smooth. The people, though? Detached from each other, the continually stare at their smartphones on their age. When Theodore is set up by a friend (Amy Adams) on a blind date (Olivia Wilde), it’s hardly surprising when everything goes awry. Why bother with contending with a real woman when you have Samantha at home?

Samantha’s growth, though, presents problems of its own. It’s hard to place exactly what themes are at play here — everything is so fluid — but you do get a sense of a lonely man dealing with the loss of a love that once seemed eternal. Theodore’s eyes seem to say more than the man ever could. Love is weird like that.

Four silky stars out of five.

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