Here – An Ambitious Journey Through Time

There was a time when Robert Zemeckis stood shoulder to shoulder with innovators like George Lucas, James Cameron, and Steven Spielberg as one of the most influential voices in blockbuster filmmaking. His films captured a sense of magic that, while sometimes dismissed as overly sentimental, left a lasting mark on the medium. But as the years have passed, many have wondered if he would ever return to the heights of Back to the Future or Forrest Gump. His recent work has fallen far short of that legacy, creating a negative perception of his once-storied career. Many longtime fans, still hopeful that Zemeckis might reclaim his former glory, were instantly intrigued upon the announcement of his latest project, Here. The film reunites Forrest Gump stars Tom Hanks and Robin Wright and is based on the comic strip turned graphic novel by cartoonist Richard McGuire.

The premise of Here is inherently compelling. Through the film, Zemeckis crafts an ambitious tapestry of history and memory, all unfolding within a single, unchanging space. Spanning centuries and weaving multiple stories together, it is entirety shot through one singular frame in order to emulate its source material by making scenes appear as comic strip panels. While some audiences may see this as a gimmick, there is a thoughtfulness here that Zemeckis has not displayed in decades. The film offers a fascinating exploration of the lives and moments that pass through the walls we call home, lingering long before and after we live there. It reflects on what we leave behind and what we carry forward—and for Zemeckis, it feels like he is grappling with his own legacy and mortality.

That being said, there is a lot happening here, and admittedly, some stories feel far more developed than others. The highlight of the film was of course the main storyline featuring Hanks and Wright as married couple Richard and Margaret, which delves into the stagnation that can come from staying in one place too long. Their story illustrates how homes, despite their comforts and memories, can sometimes anchor one to the past, making it difficult to move forward in life. However, when it comes to the other storylines, many feel aimless and don’t connect as well to the central narrative.

Meanwhile, the visual effects and de-aging technology used to illustrate the passage of time can be distracting, especially as characters move closer to the camera, revealing the flaws in the digital work. At times, these technical imperfections disrupt the film’s continuity, pulling the viewer out of the experience. Yet in the films finest moments, Zemeckis captures something fairly beautiful—a reminder that every space holds its own story worth being explored.

In the end, while not perfect, Here serves as a reminder for audiences why Zemeckis was once such a refreshing voice in film: he knows how to tell a story that feels both personal and universal. Though the film may not be for everyone, it is a rare and bold project from a director who has been disappointingly stagnant for the past decade.

still courtesy of VVS Films/Sony Pictures

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Tristan French