Here (2024) is directed by Robert Zemeckis and stars Tom Hanks, Robin Wright, Paul Bettany, Kelly Reilly, Michelle Dockery, Gwilym Lee, Lauren McQueen, David Fynn, Ophelia Lovibond, Nicholas Pinnock, and Nikki Amuka-Bird. The film follows various families who have lived in the same house over the course of three generations. As the film cuts back and forth between each family’s story, it becomes clear that the place you reside isn’t as important as the people you share it with.

The lead performances by Hanks and Wright are essentially what a person has come to expect – veteran actors who succeed even with weak material. Although their performances are serviceable, the script rarely gives them opportunities to chew the scenery. The movie is so dedicated to its “slice of life” approach that it forgets that real life is more often than not a mundane experience. Thus, the film ends up feeling like a mundane experience that never lets its great cast of actors off the leash. The script also asks the actors to deliver cheesy and unoriginal dialogue that only succeeds in breaking immersion (which is the only thing this slice-of-life approach would otherwise have going for it). There are also just far too many characters and many of their stories end up feeling pointless. The main portion that focuses on Hanks and Wright works well enough, but every cut to another family feels jarring and thematically basic. With this, the film is essentially just telling the audience that life goes on even after we’re gone or that humans are perishable while space isn’t? I’m not sure, but either way, it’s a weak and unclear message.  

Thematically, the movie unfortunately has almost nothing new to say. It jumps from one slice-of-life cliche to the next and seems weirdly happy to deliver to the audience something they’ve seen countless times in not only movies but real life. This wouldn’t be so frustrating, but Zemeckis also lays the sentimental tone on as thick as possible. The nature of the material is already extremely sentimental, so hammering it home every chance possible feels preachy. 

The film’s gimmick of showing everything through a single fixed camera is interesting, but I struggle to understand how it improves the overall experience. It works, I suppose, but I could see the movie working just as well (if not better) without it. The same goes for the de-aging technology used on Hanks and Wright. It’s so seamless that it’s almost something the audience forgets about. That being said, no amount of de-aging can turn a 78-year-old Tom Hanks into a believable 18-year-old. 

Whether it’s themes, balance, or general entertainment value, Here feels like a big swing & miss. That being said, it doesn’t feel like a cynical cash grab either. This isn’t a movie that insults my intelligence, it’s just not good. 

Overall, this is a great example of classic Oscar bait. Big actors, a proven director, and a unique premise/approach. That being said, it’s also an example of failed Oscar bait. Single elements are impressive but it never comes together as a satisfying whole. This is a mess of a movie and I would only recommend it to audiences who love this kind of sentimental crap. C