Robert Zemeckis’s latest cinematic experiment, Here, attempts a groundbreaking exploration of time and space, but instead delivers a horrifyingly dull and unsettling spectacle. This ambitious project, reuniting Forrest Gumpstars Tom Hanks and Robin Wright, promised a captivating journey through the ages, utilizing cutting-edge de-aging technology. However, the film ultimately collapses under the weight of its own ambition, leaving viewers trapped in a visually jarring and narratively stagnant time warp.
Here
Zemeckis, the visionary director behind classics like Back to the Future and Who Framed Roger Rabbit?, has always pushed the boundaries of cinematic storytelling. With Here, he ventures into uncharted territory, attempting to weave a multi-generational saga within the confines of a single location. The premise, adapted from Richard McGuire’s graphic novel, follows a diverse ensemble of characters who inhabit the same house throughout history, from its prehistoric origins to the present day.
The film’s most touted feature, the digital de-aging of Hanks and Wright, proves to be its biggest downfall. While the technology has advanced significantly in recent years, Here showcases its limitations in a truly unsettling manner. Hanks, in particular, is subjected to a bizarre transformation, resembling a nightmarish hybrid of his younger self and Ben Platt in the equally ill-fated Dear Evan Hansen adaptation. The uncanny valley effect is in full force, creating a disturbing distraction that undermines any emotional connection with the characters.
Beyond the visual horrors, the narrative itself fails to engage. The film jumps erratically through time, offering fragmented glimpses into the lives of its inhabitants. We witness fleeting moments of Native American courtship, Benjamin Franklin’s son grappling with wartime loyalties, and the mundane existence of a La-Z-Boy chair inventor. These vignettes, while offering a panoramic view of history, lack depth and emotional resonance. The characters remain nameless and underdeveloped, their stories reduced to shallow clichés and trite life lessons.
The film’s attempt to address contemporary social issues feels equally hollow. A Black family’s struggle with racial injustice is reduced to a single scene, a superficial gesture that pales in comparison to the nuanced portrayals found in films like The Hate U Give. Here ultimately shies away from any meaningful commentary, opting instead for safe, sentimental platitudes.
Technically, the film is a mixed bag. The visual effects, while ambitious, are often jarring and unconvincing. The constant shifting between time periods, marked by rectangular frames highlighting the evolving house, grows repetitive and tiresome. The musical score, overly sentimental and intrusive, further amplifies the film’s emotional emptiness.
Here is a cautionary tale of technological overreach and narrative miscalculation. While Zemeckis’s ambition is commendable, the film’s execution falls disastrously short. The result is a visually disturbing, emotionally vacant, and ultimately forgettable experience.
