14/10
A generational tale about families and the special place they inhabit, sharing love, loss, laughter and life. Based on the comic book “Here.” by Richard McGuire. It was originally published as a strip in the comic book magazine “Raw.” in 1989, and was expanded into a 300-page graphic novel in 2014. Richard’s father, at one point early in the film, names several towns that he claims are along the Pennsylvania Turnpike, when in fact they are all towns that are along Interstate 80 in PA, which hadn’t even been built at the time… [from the trailer] Richard: You know, if you want, you could spend the rest of the night here. Margaret: I could spend the rest of my life here. Features They Stooge to Conga (1943). Clarinet Concerto, pts. 1 & 2 Written by Artie Shaw Performed by Artie Shaw and His Orchestra Courtesy of RCA Records By arrangement with Sony Music Entertainment I didn’t know what to expect from “Here” for two reasons. First, I haven’t been following director Robert Zemeckis’ filmography closely lately. I’ve seen all-time classics of his in the “Back to the Future” trilogy, “Who Framed Roger Rabbit?” and “Forrest Gump” and underrated gems like “Death Becomes Her,” “What Lies Beneath,” and “The Polar Express,” so I haven’t been exposed to any disappointment on their part yet. Second, I knew ahead of time that they were using artificial intelligence to de-age Tom Hanks and Robin Wright. In a year with notable advancements in AI and nearly a year after the SAG-AFTRA attacks, “Here” appears to be the first major Hollywood film to heavily utilize this technology. However, I was willing to go in with an open mind. After watching it, one vital element keeps it from being a classic, but it is a good one. For starters, the actors delivered. Thirty years after their pairing with “Forrest Gump,” Tom Hanks and Robin Wright give compelling performances as Richard and Margaret Young, as their story of living in the central house is the bulk of the narrative. For the other standout, Paul Bettany commits as Richard’s father, Al. Robert Zemeckis directs this incredibly ambitious film in a way that feels distinctly Zemeckis. The story is unique — the film follows a (mostly) unbroken shot of a house through the centuries — and it deserves a director who can make it feel special. Every film I’ve seen from Zemeckis that I’ve described was magical, and “Here’s Something Magical” is no exception. I felt the film’s opening scene was beautiful and a perfect way to start. It shows what the film will offer over the next hour and 45 minutes of running time, making it one of its defining scenes. I have mixed and positive feelings about the use of AI in the film. Aside from a few moments, the aging was tremendously convincing and it looked like Hanks and Wright were much younger than they are now. I’m more or less mixed because I’m not the biggest fan of the use of AI in media, and I’m one of many who believe that creativity in Hollywood is only human. Moving on to the negatives worth mentioning: the film’s division and utilization of time aren’t great. I liked the main story revolving around the Young family. However, they occasionally cut to other time periods, which felt like an excuse to sell the still frame gimmick more. The additional plot lines had emotional moments, but the characters lacked development. Any feelings of sadness worked during the time we spent with the Youngs. The 1:45 runtime almost did as well. Overall, “Here” was mostly a success. It won’t be an awards season favorite, as “Conclave” and “Anora” are also in theaters. However, as a film fan who appreciates Hanks and Zemeckis and is intrigued by the experimental nature of this film, the movie was enjoyable.
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