'Here' review: Tom Hanks and Robin Wright can't save static drama
Courtesy of Sony
Robert Zemeckis has always been a filmmaker at the forefront of cinematic innovation, whether it was through motion-capture performances or de-aging technology in films like “Welcome to Marwen,” “Beowulf,” and “The Polar Express.” With his latest effort, “Here,” Zemeckis attempts to take another ambitious swing that, while respectful, ultimately falls flat. The film's gimmick involves a fixed camera position to show how life and people evolve in a single space over millions of years, from the dinosaurs to Benjamin Franklin. Unfortunately, this results in an overtly sentimental drama that feels more corny and static than endearing, lacking fully developed characters and giving them little room to explore.
Adapted from Richard McGuire’s graphic novel, “Here” begins with a montage of seismic events, from the extinction of the dinosaurs to the ice age and into colonial times, before arriving at the main narrative. From a single position in a living room, we meet World War II veteran Al Young (Paul Bettany) and his wife Rose (Kelly Reilly) in the 1940s, later transitioning to their son Richard (Tom Hanks) and his eventual wife, Margaret (Robin Wright), who moves in after becoming pregnant at 18.
This single location feels more like an awkward stage play than a cinematic experience, showcasing various holiday dinners and historical milestones to signal the passage of time. While the narrative flows reasonably well, it’s difficult to connect with any of the characters, particularly since we don’t truly get to know them beyond the confines of this singular space.
The screenplay, written by Zemeckis and co-writer Eric Roth, attempts to introduce emotional complexity through the relationship between Margaret and Richard, who lament the passage of time and their unfulfilled dreams. However, even the impressive talents of this “Forrest Gump” reunion are not enough to overcome the melodramatic cheese woven throughout the script.
Zemeckis incorporates numerous stories into the film’s 105-minute runtime, showcasing several generations of residents in the house before Margaret and Richard. These include a pilot from the early 1900s, a pin-up model (Ophelia Lovibond) and her inventor husband (David Fynn) in the 1930s, and a Black family (Nikki Amuka-Bird, Cache Vanderpuye, and Nicholas Pinnock) occupying the home in the present day. While it’s clear what Zemeckis aims to achieve by incorporating these diverse narratives, none are developed in a way that truly enhances the plot; instead, they often feel more distracting than engaging.
Even more distracting is the use of digital de-aging technology, which at one point sees Hanks and Wright trying to portray their 17-year-old selves with mixed results. While it’s not as disastrous as some films have shown, Hanks’ 60-plus-year-old voice coming from what is meant to be a teenager is unintentionally comical. Still, the cinematic medium benefits from filmmakers willing to challenge the studio system with projects that defy norms. Although “Here” doesn’t succeed on its own terms, it’s still a film I will likely ponder more than the numerous uninspired sequels and reboots released this year.
Grade: C-
HERE is now playing in theaters.
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