About the film (courtesy of Sony Pictures Releasing):
Here is an original film about multiple families and a special place they inhabit. The story travels through generations, capturing the human experience in its purest form.
To say that Robert Zemeckis and Tom Hanks have history would be underselling it a bit. The pair have collaborated on a handful of films together over the last 30 years. Their first, Forrest Gump (1994), set the gold standard of what could be possible with the cinematic masterpiece. Then came Cast Away (2000), and while not quite up to the level of their first, it was still a very enjoyable experience. After that, however, the quality began to slowing trend further downward with each release, Polar Express (2004) and then Pinocchio (2022). Now we’re at preset day which leads us to Here. What picture will the duo paint with a new blank canvas?
Robert Zemeckis’s Here is a film brimming with ambition. Taking Richard McGuire’s 2014 graphic novel as its source material, it attempts to weave a multi-generational tapestry of life, love, and loss, all within the confines of a single, unchanging camera frame. While the concept is intriguing, the execution ultimately falls flat, leaving the viewer with a sense of unfulfilled potential.
The film chronicles the lives of various families who inhabit the same space over centuries, from prehistoric times to the present day. While dinosaurs briefly make a cameo, the focus primarily rests on a modern family led by Tom Hanks and Robin Wright. Hanks and Wright, both seasoned actors, deliver commendable performances, imbuing their characters with depth and nuance. However, even their combined star power can’t fully elevate the material.
The problem with Here lies in its inability to translate its ambitious concept into a compelling narrative. The film jumps erratically between different time periods, creating a disjointed and emotionally distant viewing experience. While the intention may be to highlight the cyclical nature of life and the enduring power of place, the result feels more like a series of loosely connected vignettes than a cohesive story.
The supporting cast, which includes Paul Bettany, Kelly Reilly, and Michelle Dockery, is equally underutilized. Their characters are thinly sketched and lack the depth needed to make a lasting impact. This is a shame, as the film boasts a talented ensemble that could have delivered something truly special.
Zemeckis, known for his innovative filmmaking techniques, employs de-aging technology to portray the characters at different stages of their lives. While technically impressive, this visual trickery ultimately distracts from the emotional core of the story. The focus on technological wizardry overshadows the human drama, leaving the viewer feeling emotionally detached.
Here is not without its merits. The film’s central theme, exploring the enduring connection between people and place, is thought-provoking. There are moments of genuine tenderness and poignancy, particularly in the scenes between Hanks and Wright. However, these moments are too few and far between to salvage the film as a whole.
In the end, Here is a missed opportunity. Despite its stellar cast and ambitious premise, it fails to deliver a truly engaging and emotionally resonant experience. The film feels like a two-dimensional painting, lacking the depth and complexity needed to truly capture the richness of human life. While it may appeal to fans of Zemeckis’s visual flair, those seeking a compelling story may find themselves feeling disappointed.
While I’m neither here nor there on my recommendation of this film, you can see Here in theaters nationwide starting Friday, November 1st with early showtimes on Thursday.
