Initially set to launch in cinemas from December 5th, and then December 12th, the drama «Here», based on Richard McGuire’s same name graphic novel, saw its release plans change multiple times. While the distributor was pondering the best release dates, eventually cancelling the cinema release altogether, the film had already made its way to a digital release. Of course, we couldn’t just overlook such an intriguing newcomer. So, in the review below, we dive into how the AI-de-aged versions of Tom Hanks and Robin Wright look, and how captivating it is to watch the flow of human life within this story.
Genre Drama
Director Robert Zemeckis
Cast Tom Hanks, Robin Wright, Paul Bettany, Kelly Reilly, Gwilym Lee, Michelle Dockery, Ophelia Lovibond, David Finn, Leslie Zemeckis, Jonathan Aris, Daniel Betts
Premiere digital services
Release Year 2024
Website IMDb, official site
Through epochs and global cataclysms, from the extinction of dinosaurs to the birth of new hopes, through wars and celebrations, pandemics and technological progress, the relentless and unstoppable march of Time continues. At the very place where velociraptors once hunted, eternal snows fell, and indigenous tribes hunted deer, a house was built at the beginning of the 20th century. It is here that different families lived at different times and experienced significant events in their lives.
But among others, the story of the Young family seems particularly significant. After World War II, a young couple, veteran Al and housewife Rose, moved into this little house. They had three children, the eldest being Richard. And now he introduces his parents to his girlfriend — a charming blonde named Margaret. Eventually, she gets pregnant, and the very young couple gets married and starts building their family life.
Outside, day turns to night and vice versa. Seasons change. Neighboring cars evolve. The old black-and-white TV gives way to a colorful box, and that to a modern panel. Yesterday’s children become parents themselves.
«Here» is notable for reuniting the creators of the iconic «Forrest Gump» — Tom Hanks and Robin Wright on screen, and also director Robert Zemeckis, screenwriter Eric Roth, cinematographer Don Burgess, and composer Alan Silvestri — off it.
Zemeckis, at the very least, delivers an experimental film. After all, pushing boundaries is what the director has always aimed for. It’s worth mentioning «Who Framed Roger Rabbit?» (1988), where classic hand-drawn animation was combined with live-action. And «The Polar Express» (2004), which was the first full-length film entirely filmed using motion capture technology. And the same «Beowulf» (2007) with a truly unforgettable image of Angelina Jolie.
Moreover, a conceptual decision was the fixation of the camera in one position for practically the entire film — once the device was set up in the required place, the operator could practically go for a smoke and sleep.
The linear chronology of events is heavily disrupted from the first bricks laid in the foundation of the future house. And when it is built, someone seems to install a hidden camera in the living room, capturing the most memorable moments from the life of the average American family living there.
Epochs and faces change rapidly, and at some point, it may seem as if we are not watching a full-fledged movie but a screensaver on a historical theme. The loosely connected snippets and pieces of stories coexist poorly and flicker almost with the speed of a TikTok feed. To say that this is a non-linear narrative is an understatement.
At the same time, calling «Here» a profoundly thoughtful piece is a stretch. The film indeed touches on fundamental themes about the transience of time and human life, its various aspects, historical experience, etc., but it fails to delve deeply into its own leitmotifs, settling for superficial banalities.
The creators still try to maneuver between a tilt towards formalism and adequate content filling, but the emotional coloring of a TikTok-like style doesn’t allow for a full emotional connection with the characters. The sentimental ending is indeed beautiful: it finally moves the camera and aims to touch the audience’s hearts. But overall, the film is unlikely to become that bright memory that stays with you for life, no matter how hopelessly fleeting it may be.