Here 2024 Movie Review: With a Single Shot Robert Zemeckis Reaches the Heart
Arrives in theaters, Thursday 9 January, Here 2024 Movie, the film by Robert Zemeckis brings together for the occasion a couple of performers protagonists of his unforgettable 1994 film, Forrest Gump: Tom Hanks and Robin Wright, with them in the cast also: Paul Bettany, Kelly Reilly and Michelle Dockery. The new work of the Oscar-winning director is inspired by Richard McGuire’s graphic novel of the same name and uses artificial intelligence to tell the whole life of the protagonists always interpreted by the same actors, from adolescence to old age. Here, it brings together the trio of Forrest Gump but does not deal with the time that has passed since that film became a cornerstone of American cinema. Which is ironic considering the technical challenge that the film undergoes. Zemeckis’ new feature is a non-linear story chronologically that wants to recreate the genius loci of a plot of land what has become the territory of the United States of America over time. The camera is fixed to the ground, the forced point of view, the movement given by the actors who enter and leave its vision cone and from panels that slide different points of time on the screen at the same time spent in that precise corner of the earth sometimes even before it was a corner of America.
Yet many moods have lived them, many existences that have crossed them, strong or longing for the words they have accepted over the centuries. Like any wall of the house, even those of Zemeckis will become silent witnesses to confessions held or screamed recriminations; absorbent sponges for waves of feelings ready to invest shipwrecked bodies at the mercy of their emotions; never judgmental spectators of those who tell their soliloquy to themselves and then keep silent at the moment of their final performance. But now it is no longer enough to hold voices, thoughts, smells, and memories; with Zemeckis, access to the Young homeroom (and even before the Beekman and Harter house) turns into a privileged point of visual restitution of what has been and perhaps will be: a leap into the centuries of American history through ordinary existences and anonymous, made of mourning, love and renunciation, and for this reason so extremely close to the Here and now of its spectator.
Here 2024 Movie Review: The Story Plot
In a piece of land, among the pristine woods, nature is luxuriant and dinosaurs reign. Shortly thereafter a couple of primitives arrive and elect their refuge there. From that moment on, in the same place, over the decades, centuries, and millennia couples and families alternate who choose it as “home”. From homo sapiens to Native Americans, from English settlers ready to fight for Independence to the bourgeois family of the nineteenth century with the cue ball of new technological possibilities. From the bohemian couple of the roaring years to the family at the center of the story, the Young, who arrive in that place with the soldier Al Veteran from the front of the Second World War ready to build the nest with his new bride Rose. Also, Here we then see their baby boomers born and raised, among which is the protagonist Richard who falls in love with Margareth and brings a girl with her in the year ’70. And finally, we discover the arrival of the last tenants of the same house, indeed not, of the same living room, which stands on the same piece of land in the early days.
Here is a movie that focuses on visual contrasts and perhaps it could not be otherwise, since it brings the graphic novel by Richard McGuire published in 2014. It is a succession of historical courses and appeals: There is a Spanish fever and there is COVID, and there are wars and cultural phenomena experienced first on the radio, then on TV, then on cell phones. There is above all the mononuclear family, between joy and disagreements between spouses and various generations of children and grandchildren. A social unit that for Here‘s filmmaker is the atom of US identity for Zemeckis, perhaps even of the same human nature. In the apartment, they follow one another four families, touched by small and large tragedies in the shadow of a background that will never change: a house linked to the story of Benjamin Franklin which, recognized as a monument of national interest, will remain the same as everything changes around it.
It is one of Here‘s most fiscal contrasts, a single piece of the landscape that remains the same as itself as everything around changes, even if the agents of that change do not perceive this mutation, the passage of their time. Zemeckis seems to suggest that nothing changes because absorbing the impact of history and small stories is always the emotional bond between two people. In a film of large and small courses and historical appeals, one cannot fail to imagine another couple, a duo of ghosts hovering over Here: that of the protagonists of Forrest Gump, Zemeckis’s film of extraordinary success that featured the young Tom Hanks and Robin Wright, presented as lovers to whom fate always makes a trip. The two performers lead the composite cast of Here Movie, although, in theory, the film should be choral, without prominent figures. Instead, Zemeckis lets himself get carried away and makes the first mistake, breaking the same rules behind his film.
Here 2024 Movie Review and Analysis
Tempus fugit. And this is the concept that remains most impressive at the end of the vision of Robert Zemeckis’ film Here. The director stares at his camera in a small space of the universe and imagines that it has been there since the dawn of humanity, ready to record what appears before it. And right there, in that place, over the millennia, many things happen. Things that are of fundamental size and importance for those who live them firsthand, but which are nothing compared to the passage of time and the greatness of the universe. Zemeckis’ story goes up and down between eras and families, observing and scrutinizing their normality, and, following the images that flow on the screen, we find ourselves discovering that, despite the diversity of the ages, the thread that links the experiences of these communities basic that our families, it is always the same: love, but also misunderstandings, tensions, the effort to share and support each other. In times of peace as in times of war, inside a bourgeois living room as in the Garden of Eden.
If stripped of any other element, substantial similarities can be traced in the experiences of couples, the camera crystallized in a place in the universe, however, also records the echoes of the different epochal and social events that take place around that place, and which have relevance to the way people born in a certain historical moment conceive life, happiness, desires, expectations or disappointments are formed. Because, even stopping the gaze of a tiny piece of the universe, no man and woman are islands impervious to what happens or is thought around them and their living room. At some point then, Zemeckis decided to stop the goal longer, he did it in the mid-20th century, to observe the evolution of the Young family and two generations in particular, the one that made the Second World War, and the one born in the years ’60. The second generation is the one starring Richard, played by Tom Hanks, who at a very young age meets, falls in love, and makes a daughter with Margareth, played by Robin Wright.
The director then brings together the couple from one of his most loved films, Forrest Gump, and with them, the film takes on an even more imbued flavor of nostalgia. The use of artificial intelligence for deaging, with and finding them guys, not only for the viewer has an alienating effect, but amplifies that message of time that runs away quickly which seems the most obvious subtext of the whole film. At the end of the film, the flavor that remains is that of a sweet melancholy of departure, which, however, exaggerates and reaches the sweet, while outside the living room Where the protagonists find themselves one last time, life quivers and everything continues to flow. Supported by a credible and likely process of deaging on the faces of Tom Hanks and Robin Wright, the latest work by Zemeckis (inspired by the graphic novel by Richard McGuire) is Big Brother in a small format Where there is no show, only life.
The camera emulates the ghost of A Ghost Story that observes and transmits everything to its spectators, now stuck in an eternal embrace between human relationships, family ties, and technological experiments typical of Zemeckis cinema. As it was for the motion Capture of Polar Express, the use of photography and CGI for dolls of Welcome to Marwen, and the mixed technique of Who Set Roger Rabbit Up? (and while we are thirsty Here are the 5 best-mixed media films), experimentation with digital and all forms of technological and visual development become for the director extra tools to investigate human psychology, the fractures of the soul, and all those intrinsic elements that unite us, finding a meeting point between breaks and rapprochements. Cloaked in warm tones, almost soft, with vintage references, Here‘s the room will be increasingly invested with a cold light, almost impersonal, while the furniture around becomes more and more minimal.
It is the final leap in our contemporaneity, Where the past is no longer a world to imagine, but it is a present to live, Here and now. A look ready to free itself from the roots that keep it still in its place, to move only with the closure of a chapter and the cathartic release of memories full of happiness unable to submit to the passage of time. Here Movie is a microcosm made of internal fittings: continuous overlaps and overlays of environments, panels, moments, and details of other eras that go to insert and mix, in a passage of narrative witness to be accomplished on the wave of time. Zemeckis is not just cinema, but a photo album of snapshots pasted on each other; a collage of interchangeable moments, so different in appearance yet so identical in the emotional reach of universal feelings. Zemeckis prepares a liturgy celebrating the history of a man whose film is in charge of transferring into images, reducing this universality within the four walls of a room.
Each assembly fitting therefore becomes an imperishable beat of a house full of emotions that becomes cinema, and a cinema that makes its home for our emotions; because when a joy, a pain, a fear that flows under the skin, or a confession stuck between the teeth is translated into art, a house is offered to its spectators within which to feel welcomed, understood, never judged. A house that tastes like family; a house, just like that of Here. The main theme of the film is, therefore, it flow of time. There is always a perspective melancholy to be the background to the story. A perspective is proper, in fact, to those who remember. There is not only memory, however, to interface with the theme of the passage of time. In Here there is also a lot of talk about dreams, most of the time broken. The dream almost pertains to its dimension. Parallel, indeed almost contrary to normal life. In Zemeckis’ film dreams are destined to be betrayed. Rose’s to be an accountant. Margaret’s to have her own home and Richard’s to study graphics. They are betrayed at the same time, which presses and imposes more rational choices.
In this sense, in Here time also takes on one size almost in its own right. Very perceptual. It is the classic perception, again, of those who remember. As is known, the temporal structures that mark memory are very different from those natural. I memories they are mostly spoiled from personal perception and the film stages this distortion emotionally over time. It is no coincidence that it interfaces with two elements, memory and dream, which have a very strong component of staff and emotions. From all this, the apt choice derives from setting aside a linear narrative, instead rewarding an episodic structure that contributes to recreating that melancholy and familiar feeling that is felt when you start digging and basking, in your memory. This conception staff the passage of time could not fail to accompany an extremely human story. What is told in Here is their life. Naked and raw, in absolute purity. It is humanity, which flows and is consumed in all its normality. Nothing happens in the lives of the protagonists.
As in the lives of the vast majority of people who have succeeded each other in this world. They are normal existences, characterized by the usual events that mark humanity. Birth, love, death. Joy and pain. All in one triumphal normal cycle that is destined to repeat itself through billions of lives. Here wants to talk to us about daily life. The daily life of a living room Where a family shares their experiences. Where lives a very normal existence. Crystallized, however, forever from memory. Because every life, however normal, becomes extraordinary in the eyes of those who live it. Wonderful is, in this sense, the ending, when Margaret returns with Richard to that living room Where she has spent most of her life and suddenly, finally, remembers. And yes wonder, however extraordinary his life has been. Here also creates a splendid parallel between history external and internal. As we observe the daily life that is consumed in that piece of land throughout the film, we hear the echo of the story that is consumed. With the different stories faced, Zemeckis reviews various stages of American history, going to create a sort of intimate epic, which is consumed in a private dimension, with the great history, the one with the capital S, which remains in the background and does only as a contour to the wonder of everyday life.
Here it is not a critical film, on the contrary. There are quite a few forces (deriving mostly from the complicated idea that happens of everything in that living room), but these are functional to the involvement that the film intends to create. Emotivity, in Zemeckis’ film, goes beyond reason, so to speak. And frankly, those forces don’t even weigh too much on the general budget. We accept them because we understand the reasons. They fit into a design aimed at packaging an atmosphere of intimate warmth, necessary for the purpose that the film intends to convey. This aim is, in essence, the involvement of the spectator. There is one very strong metaphor that can be found in the story, which is that of ’hug. This occurs in some significant moments between Margaret and Richard. It seals the moment of the first falling in love, but it also suffers a very strong crisis. And it is the missed embrace, in the New Year’s scene of 2003, which opens up to the definitive break between the two.
The embrace is the metaphor of the film because this is what the viewer is looking for Here. And it is also what the film itself wants to give to the viewer. It seems to us that Here intends to give heat to the viewer to console him in the presence of melancholy that is felt before the awareness of the passage of time. It is a huge embrace, in which the beholder can let himself be lulled, thus being overwhelmed by the river of memories. And how, tight in a warm embrace, we leave out the negative feelings, in the same way we fly over those forces that characterize the film but do not afflict it. The sensations it transmits Here are really difficult to trace in other stories. They are even difficult to recreate and even describe. It’s that feeling of feeling at home that you feel when you are extremely comfortable. When you lower every wall and leave all your uncovered vulnerability. Zemeckis is very good at creeping into everyday life and the viewer’s familiarity.
In lowering his defenses and embracing him, to give him an intense and highly exciting vision. We don’t understand the silence he welcomed Here. We will honestly never understand it. In a loud voice, however, we tell you to run into the hall to see it. It will not be a film without defects, but it is a film capable of touching unique emotional strings. To put ourselves in front of our dreams. To our memory. Able to cage ourselves in our time and to leave us free to perceive, in our way, the life we have lived and the memories we have built. And also the life that will come, which in turn will be at the center of other memories. All lived Here, in our time and our place. How Richard and Margaret lived, and others before them, and all those who will give their lives to that piece of land that has already seen so much of it, but which still has a lot to see.
Here 2024 Movie Review: The Last Words
Here by Robert Zemeckis is both an American History manual and a sweet essay on the human being, between insecurities, losses, death, and life. And it is almost paradoxical how many centuries, and many emotions, are enclosed in the narrow space of a homeroom. The last result of continuous experimentation Where the human reach goes into play with digital experimentation, with Here the director of Return to the Future exploits the power of deaging to rejuvenate its protagonists, Tom Hanks and Robin Wright, and at the same time plays with an internal assembly that allows you to combine moments borrowed from different centuries, while the camera merely captures, firm and immobile, their characters who change, grow, get angry or love each other. All in the space of a Here and now eternal. We got excited, and a lot too, seeing Robert Zemeckis’ Here. Dazzling idea and staging of absolute impact for an extremely bright story, able to dialogue immediately with the public. The original structure revolves around a fixed observation point, leading us to reflect on life, space, and time. Poetic work, harmonious and full of beauty.
Cast: Tom Hanks, Robin Wright, Paul Bettany, Kelly Reilly, Michelle Dockery, Leslie Zemeckis, Lauren McQueen, Beau Gadsdon, Gwilym Lee, Jonathan Aris
Director: Robert Zemeckis
Where to Watch: Prime Video
Filmyhype.com Ratings: 3.5/5 (three and a half stars)
Here 2024 Movie Review: With a Single Shot Robert Zemeckis Reaches the Heart - Filmyhype
Director: Robert Zemeckis
Date Created: 2025-01-22 16:40
3.5
