I've said it many times before, and I will undoubtedly say it again, but we definitely lost something when Robert Zemeckis started to become more and more seduced by technology. He was a director once able to use the best special effects to tell wonderful and hugely entertaining stories (having helmed at least two features that could easily be considered absolute classics of the 1980s), but he started to focus more and more on FX-laden movies that just seemed designed to showcase the FX work.
And now we have Here, a film with a couple of gimmicks to attract or repel viewers, depending on your reaction to the main premise. With the camera largely locked off for most of the runtime, Here shows us a house, and the people who have inhabited that house over the decades and centuries. We also see the space as it was before the house was built, sometimes seeing people coming and going from the house across from that space, sometimes seeing people moving through the space when it was just untamed wilderness, and sometimes even seeing a bit of prehistoric action. Although various people come and go, the two main characters are Richard and Margaret, played by Tom Hanks and Robin Wright. They are digitally de-aged for certain scenes, and we get to see most of their lifetime play out in front of us.
Based on a graphic novel by Richard McGuire, turned into screenplay fork by Zemeckis and Eric Roth, the visual style here may put many people off, but it's a nice way to keep things moving along and keep jumping in between the various generations. What you see are various panels appearing in different areas of the screen as the image transitions from the present to the past, to the very past, and back towards the present. The visuals sometimes lag behind the audio, but it works to keep viewers engaged in a way that wouldn't otherwise wouldn't be possible with such a static camera set-up.
Hanks and Wright are very enjoyable when they get to be front and centre, but they share a lot of the screentime with Paul Bettany and Kelly Reilly (as the parents), Michelle Dockery and Gwilym Lee (a couple who lived in an older incarnation of the house), Ophelia Lovibond and David Fynn (a different couple who also made the place their home at one time), and Nicholas Pinnock, Nikki Amuka-Bird, and a handful of others helping to keep the space busy.
The big surprise, however, is how little the film really rests on the shoulders of the cast. They help, and Bettany and Reilly have some particularly effective moments, but this is a film that actually allows Zemeckis to marry the tech to a strong heartbeat in a way that is unexpectedly satisfying. While it's a technical exercise, one that may only appeal to a minority able to tolerate the use of the format, it's actually more interested in sharing a positive message about the shared experience of life. Birth, love, pain, loss, sacrifice, laughter, tears, and, of course, death.
I don't think I'll ever rewatch this, and I cannot think of anyone I would strongly recommend it to, but I enjoyed it while it was on. Everyone involved, on both sides of the camera, is doing very good work, and there's a lot of sweetness, but, unlike the fixtures and furnishings of the house depicted here, there isn't all that much below the surface.
6/10
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