Drawn from a graphic novel of the same name, Here is a laudable “experimental” concept for a film. This is presumably why director Robert Zemeckis took to this project, as it would give him a chance to flex some more technical muscles in his pursuit of the next filmmaking frontier. On that note, mission accomplished (sort of). Yet despite not having read the book, I have to ask: is that all there is?
Here‘s literal framing device is two-fold: the film fixes us in one location in space as it moves through time via “comic” panels that appear and dissolve on-screen to leap us through epochs. As co-adapted by Eric Roth, this includes a stop in the prehistoric era, a cameo from Benjamin Franklin, and, by and large, following the life of Richard and Margaret (Tom Hanks and Robin Wright), a couple living through the second half of the 20th century (Zemeckis’ favourite period). As it happens, the film’s problems are also two-fold: once again, Zemeckis’ use of CGI—this time a de-aging of his actors—is distracting (at best) and inhuman (at worst). These digital effects could be ignored (see: Irishman, The) if the film’s writing was better, but Zemeckis and Roth lean (once again) on only the most schmaltzy narrative tropes to be found in mid-century America. Yes, it’s possible to marvel at what we humans have made (airplanes! the La-Z-Boy! CGI Tom Hanks!), but little of this wonder escapes the stagey and corny trappings of the film.
In truth, that’s a bit of a shame. I’m sympathetic to Here‘s concept and enjoy the complex perspective shifts that become apparent in the best time-travelling stories. (David Mitchell’s Cloud Atlas is a case in point.) Instead of that, however, Zemeckis leaves us only with the adage, “Life is what happens while you’re busy making other plans.” Forget a film or graphic novel, that’s a sentiment best expressed on a bumper sticker.
