Robert Zemeckis is a filmmaker celebrated for his innovative storytelling techniques and the seamless integration of technology into cinema. From the animated live-action blend of “Who Framed Roger Rabbit?” to the groundbreaking motion capture of “The Polar Express,” Zemeckis has consistently pushed the boundaries of filmmaking. However, in his latest venture, “Here,” it seems that the technological marvels may have overshadowed the narrative depth, a trend that could raise questions about Zemeckis’ artistic choices.
Reuniting the iconic trio of Tom Hanks, Robin Wright, and screenwriter Eric Roth, “Here” could have had the makings of a poignant family drama. Instead, the film has garnered less-than-stellar reviews from critics and audiences alike, demonstrating a stark decline from the director’s earlier successes. Critics have lambasted the film for its constrained setting and lack of dynamic storytelling, reflected in a mere 36% rating on Rotten Tomatoes, while audience reception was lukewarm at best with a B- CinemaScore.
The static nature of the film’s premise—a multi-generational saga unfolding from a fixed perspective—wrapped in an ambivalent study of middle-class discontent, fails to evoke the warmth and escapism found in Zemeckis’ earlier works. Instead, Hanks and Wright portray a couple trapped in the mundane realities of a failing marriage, an ironic juxtaposition considering the sense of adventure and discovery prevalent in past Zemeckis offerings.
One significant criticism of “Here” revolves around its decision to employ a fixed angle throughout the film. While this artistic choice aligns with the thematic exploration of time and perspective, it ultimately restricts emotional engagement, resulting in a flat viewing experience. Unlike the emotive resonance of “Forrest Gump,” in which time was a fluid and narrative-driven character, “Here” appears to offer a stilted examination of life’s trials, leaving audiences yearning for deeper emotional peaks and valleys.
Despite Zemeckis’ intent to reflect an enduring truth about familial dynamics, the film’s execution misses the mark. The lack of humor and warmth that once characterized his films contributes to a disconnection, hindering viewers’ ability to invest in the characters’ plight. This raises a crucial question: can technical experimentation alone carry a film if the story does not resonate?
In examining the film’s underwhelming box office performance, it becomes clear that distribution challenges played a significant role in shaping the film’s commercial fate. Initially caught in a limbo of uncertain domestic distribution, “Here” suffered from studios shying away from what many perceived as a risky project. Ultimately, Sony stepped in to take over distribution, but the lack of a pre-existing promotional strategy hindered the film’s visibility.
With its largely foreign financing—around 60% from foreign sales—the film found itself facing the daunting task of effectively marketing a moody drama that lacked clear selling points. Critics have noted that the marketing campaign struggled to encapsulate the film’s essence within the confines of a terse 60-second ad spot, a hurdle that is particularly pronounced when attempting to draw audiences for a complex narrative.
Zemeckis is no stranger to the complexities of filmmaking, and “Here” joins the ranks of past underperformers such as “Welcome to Marwen” and “The Walk.” The director’s tendency to prioritize innovative technology has previously put him at odds with narrative requirements, leading to mixed critical responses. “Here,” while rich with artistic ambition, reflects a pattern where technology supersedes storytelling, a potentially consequential misstep for a filmmaker of Zemeckis’ caliber.
In retrospect, Zemeckis reflects on the risks taken throughout his career, acknowledging the fluctuating nature of cinematic success. While technological advancements can serve to enhance storytelling, there remains an undeniable reliance on the strength of the narrative itself. For “Here,” the disconnect between its ambitious premise and execution may serve as a cautionary tale for both Zemeckis and aspiring filmmakers seeking to push cinematic boundaries.
As audiences continue to crave meaningful storytelling that resonates on a deeper level, Zemeckis’ “Here” serves as a reminder of the delicate balance between innovation and narrative depth. While technology can elevate cinema, it should never overshadow the heartfelt stories that engage viewers. The mixed reception of “Here” underscores a vital lesson in filmmaking: a captivating narrative must remain at the forefront, harmonizing with technical achievements to craft the enduring cinematic experiences that Zemeckis has long been known for.