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Jonze establishes, too, that this will be a work of science-fiction owing its parentage to the best sources, that its premise will be fantastic but grounded in characters and their place in the world.

Of all the compliments I can think to pay this film, the best is that Theodore works for a letter-writing company.

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There's a moment where Theodore, afraid that someone he loves has gone missing, runs through the city streets and falls, and all the citizenry wrapped up in their technological cocoons stop to help him, asking him if he's okay.

It's a prime moment for satire, for Jonze to pound home the message that we're separating ourselves from one another--but instead, he goes in the opposite direction: We go inside because we crave connection, and although we recognize the dissonance in that, our need pushes reason aside.

I think I was most stricken in by the idea that the themes and many of the images of modernity Edward Hopper introduced in his lonesome paintings are brought to their fruition here and, better yet, not in ways that are trite.

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