Robert Zemeckis has long been a filmmaker enamored with technological innovation, from the pioneering motion capture of The Polar Express to the seamless blending of past and present in Forrest Gump.
With Here, he takes on perhaps his most ambitious concept yet—a film that unfolds entirely within the confines of a single room, spanning decades of history and human experience. The idea is fascinating, but the execution? Less so. Despite moments of visual beauty and the ever-reliable presence of Tom Hanks, Here stumbles under the weight of its own ambitions, resulting in a film that is intriguing in theory but uneven in practice.
Direction – C+ (2.8/4.0)
Zemeckis is no stranger to weaving multiple timelines together, yet Here lacks the narrative fluidity of his previous works. The film’s conceptual ambition is admirable—telling the story of a single location through shifting time periods—but its execution feels more like an experiment than a fully realized vision. The seamless transitions between past and present are sometimes striking, but the film struggles to find an emotional throughline that binds these moments together.
Writing – C (2.5/4.0)
The screenplay, based on Richard McGuire’s graphic novel, attempts to transform a static setting into a dynamic, emotional journey. Unfortunately, it often buckles under the weight of its own structure. The dialogue oscillates between profound and perfunctory, with stretches that feel more like scripted monologues than organic conversations. The result is a film that, while rich in visual transitions, lacks a truly compelling narrative drive.
Cinematography – C+ (2.7/4.0)
Visually, Here operates within a unique constraint. The camera remains largely stationary, emphasizing the passage of time through shifting décor, lighting, and staging rather than movement. In some ways, this approach works, allowing for quiet moments of reflection. However, the reliance on de-aging technology—often veering into the uncanny valley—diminishes the overall effect. Instead of enhancing immersion, the artificiality of certain scenes pulls the viewer out of the experience.
Acting – C+ (2.8/4.0)
Tom Hanks, Robin Wright, and Paul Bettany are all seasoned performers, and their presence lends Here a sense of gravitas. Yet, they are often constrained by the film’s rigid structure and awkward pacing.
Tom Hanks delivers moments of quiet brilliance, but the fragmented storytelling prevents his character from feeling fully realized.
Robin Wright, similarly, does her best with what she’s given, though her emotional arcs feel stifled.
Paul Bettany stands out in several key sequences, but even his performance struggles to escape the film’s disjointed rhythm.
The chemistry among the leads flickers rather than burns, leaving many interactions feeling more like staged table reads than organic moments of lived experience.
Editing & Pacing – C (2.4/4.0)
For a film that spans generations, Here struggles with rhythm. Certain transitions between time periods feel jarring rather than fluid, and key emotional moments lack the necessary build-up. Scenes that should resonate are sometimes rushed, while others linger unnecessarily, resulting in a disjointed viewing experience.
Production Design & Costumes – B (3.2/4.0)
One of the film’s strongest aspects is its meticulous attention to detail in set design. The evolution of the single location—from an empty plot of land to a modern home, to its gradual decay—is handled with care. Subtle shifts in color palettes, furniture, and props effectively convey the passage of time, serving as one of the film’s few consistently successful storytelling devices.
Costume design, while not flashy, is surprisingly effective in anchoring the film’s time shifts. The period-accurate wardrobe choices add authenticity, ensuring that each era feels distinct. While some outfits feel slightly too pristine for their respective time periods, the overall execution is commendable, making the film’s costuming one of its more reliable elements.
Sound & Score – C+ (2.9/4.0)
The film’s score, composed by Alan Silvestri, complements its meditative tone but occasionally leans too heavily into sentimentality. The sound design itself is competent, reinforcing the sense of space, but nothing about it stands out as particularly inventive.
Visual & Special Effects – C (2.5/4.0)
Zemeckis’s affinity for digital effects is well documented, and while Here doesn’t rely on spectacle, its use of CGI de-aging proves to be more of a distraction than an enhancement. The film would have benefitted from a subtler approach, as the reliance on technology often overshadows the story itself.
Final Grade: C+ (2.71/4.0) – 67.8%
Verdict:
Here is a film with a fascinating premise that ultimately falls short of its potential. While it boasts moments of visual ingenuity, solid performances, and strong production design, its uneven storytelling, artificial visuals, and lack of emotional depth prevent it from truly resonating. Zemeckis is no stranger to bold cinematic experiments, but in this case, the concept outweighs the execution.
Coach Sydnor’s Grade: C+
Essential Film Information
🎬 Film Title: Here (2024)
🏢 Production Company: Sony Pictures Entertainment
📺 Showrunner: N/A
🎬 Director: Robert Zemeckis
🎥 Cinematographer: Don Burgess
✂️ Editor: Jeremiah O’Driscoll
🎭 Main Actors: Tom Hanks, Robin Wright, Paul Bettany
🔗 IMDb Page: https://www.imdb.com/title/tt15398776/
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