The reunion of Tom Hanks, Robin Wright, and director Robert Zemeckis has given us Here, a film that could easily be billed as a spiritual sequel to Forrest Gump. However, my expectations were tempered; Zemeckis’s recent work has lacked the touch that once made him iconic, Hanks has often revisited familiar characters, and Wright, for me, had never quite commanded her roles with the same impact. I walked in braced for a film that might lean too heavily into sentimental nostalgia, but to my surprise, Here delivered a heartfelt resonance, especially in its latter half, redeeming much of the disjointed start.
The concept of Here is bold. Instead of a person experiencing historical events, the film presents a house as the central character—a quiet witness to the ebbs and flows of human life over the ages. The house frames the story, quite literally, beginning from the primordial dinosaur age and ending in a distant, almost transcendent future. Zemeckis employs a clever, and at times challenging, directorial approach by keeping the camera fixed. Though this technique has been used before, it brings a unique perspective here, allowing us to observe layered moments unfolding within the walls of the same location across time.
Unfortunately, the first half of Here suffers from frenetic pacing. Zemeckis’s trademark style—the rapid shifts in timelines and vigorous cuts—harks back to his Forrest Gump days, but feels out of place and, initially, too chaotic for the film’s contemplative tone. Characters and timelines shift so quickly that it’s tough to latch onto the narrative emotionally. There’s an overload of playful, sometimes disorienting frames within frames, and while some jokes land, the sheer intensity of the editing sacrifices the depth of engagement with each character.
However, it’s Hanks and Wright who ultimately hold the film together. Just as I was about to give up, the second half brought in a refreshing calm, slowing down to allow the story to breathe. The narrative refocuses on Richard (Hanks) and Margaret (Wright), introducing us to a love story that unfolds with authenticity and warmth.
Hanks brings his familiar “Hanks-ness” to the role, his tender expressions and heartfelt delivery acting as the film’s anchor, while Wright complements him beautifully. As the couple’s relationship faces trials, we see them evolve, and the chemistry between Hanks and Wright is powerful enough to transcend the script’s uneven structure. Their shared silence, their moments of quiet connection, and their humorous exchanges—all feel genuine and lived-in, capturing the fragility and resilience of a lifelong bond.
There are, however, some questionable creative choices. For instance, the delayed introduction of Richard and Margaret feels like a missed opportunity to connect with the audience earlier. It’s understandable that the filmmaker wanted to emphasize the house as an evolving character, weaving in scenes of young Richard’s life in the house and eventually introducing Margaret. Yet, much of this setup feels like filler—an aesthetic indulgence rather than essential storytelling.
A friend once told me, “With the right casting, you can get away with anything.” And perhaps that’s true here; despite its excessive sentimentality and sometimes clunky storytelling, Here works because of Hanks and Wright. Their magnetic screen presence elevates even the quieter scenes, lending weight to moments that might otherwise feel like fleeting nostalgia.
Interestingly, Here also has an old-fashioned feel to it, reminiscent of a 90s movie. Whether this is a strength or a drawback is up for debate. In an era dominated by high-paced storytelling and often cynical narratives, the earnest, slightly outdated charm of Here may feel both refreshing and slightly out of place.
But in the end, this throwback quality adds a layer of sincerity to the experience, grounding the film’s exploration of time, space, and human connection. Despite some mixed reviews, Here is worth a watch, particularly for fans of Hanks and Wright, who imbue this story with heart and authenticity. It’s a cozy, if flawed, journey through time, filled with endearing characters and moments that remind us of the quiet beauty of shared memories and spaces.
Ritesh has only two passions in life: movies and writing. With over two years of professional writing experience, he goes beyond SEO norms to convey his unfiltered love for cinema. A devoted admirer of Martin Scorsese, Ritesh believes that cinema is the most powerful storytelling medium on the planet, and through his words, he seeks to share that passion with the world.