When I first saw the trailer for Robert Zemeckis’ Here, I immediately thought it was a cinematic adaptation of the Disney theme park attraction Carousel of Progress, one of the lamest and most antiquated rides Disney has to offer. Spanning time but set within a single location—hell, a single camera angle—Here cycles through hundreds of years (not counting a few scenes involving dinosaurs) but dwells heavily on the relationship between Forrest Gump and Jenny as they get married, have children, and develop contempt toward one another. Before Midnight, this is not.
Zemeckis, director of several classic films but known now as a filmmaker who tends to get fixated on innovative approaches to the detriment of storytelling and entertainment value (thank god he is long past his dead-eyes motion-capture era), gives us a surprisingly decent if forgettable little drama that will be best known for reuniting Tom Hanks and Robin Wright.
While the single camera angle gimmick will turn off some viewers, those willing to accept Here for what it is will find themselves consistently amused, though perhaps short of moved. Though the drama may not be particularly deep, the chemistry between Hanks and Wright elevates the material. More importantly, Zemeckis keeps things entertaining by constantly shifting through time, giving us a soap opera spanning generations.
What would have been more fun and interesting had Zemeckis allowed us more time with the lively couple from the 1930s–more sex, spice, and La-Z Boy action.
Given short shrift is the modern Black family, inserted in more to add some diversity to the primarily white cast (there are also a few Museum of Natural History-level shots of indigenous people) than to actually add character depth.
On a side note, one of the movie’s most understated achievements is the de-aging effects of the film’s cast. Here may be the best I’ve seen; while the “lack” of cinematography likely helps, young Hanks and Wright were more convincing than most other attempts in recent years.
There’s nothing deep here, but as a concept drama with a unique technical approach, Here works about as well as you could expect. Those simply looking for some old-class charm from the movie’s stars (Paul Bettany and Kelly Reilly also have major roles) and relatively relatable melodrama will be satisfied. Let’s just thank God it’s better than the Carousel of Progress.
Review by Erik Samdahl unless otherwise indicated.