Tom Hanks and Robin Wright cemented themselves within the history of cinema when they starred in Robert Zemeckis’ acclaimed dramedy Forrest Gump, which is one of the best ‘90s movies. While many were captivated by their performances, viewers also just relished the sheer chemistry between the two actors. Now, over 30 years later, Hank and Wright have reunited with Zemeckis for the 2025 movie release Here. Critics just screened the film and, so far, they don’t seem to be too high on it. In fact, many are making the same complaints.
Robert Zemeckis’ latest film was screened at AFI Fest this past week, after which the reviews from critics started pouring in. As teased in Here’s trailer, the filmmaker took a unique approach to the movie in that the camera remains in a single position the entire time. With this, audiences see how the space changes throughout the passage of time, from the prehistoric age to the present. It’s during that stretch that a house is built and multiple families inhabit the space, with their biggest moments being chronicled as time goes on.
Many of the reviews that have surfaced so far have criticized the Back to the Future star’s story as well as his creative decision for the film’s visual approach. Richard McGuire’s 2014 graphic novel of the same name (from which the film is adapted) also limited the action to a single perspective per panel. However, THR’s David Rooney argues that this method does not work for the feature film:
By replicating the graphic novel’s approach three-dimensionally, Zemeckis’ film becomes like a living diorama with insets providing windows into the past and future. Purely from a craft standpoint, it’s mesmerizing, even beautiful, for a while. Until it’s not. Zemeckis for years now has been fixated on technology and its visual capabilities, to the point where he neglects the rudiments of story and character development. The vignettes here return frequently to the same families at different moments in their lives, but rarely settle in for long enough to sustain narrative momentum or give the characters much depth.
Another technical aspect of the movie is that it employs de-aging technology used in The Irishman, Gemini Man and other movies. It’s most prominently used on Tom Hanks and Robin Wright, who play couple Richard and Margaret Young, respectively. Peter Debruge of Variety chided the use of the tech while also sharing less-than-positive thoughts on the strength of the film’s characters:
From ‘Who Framed Roger Rabbit’ to ‘The Polar Express,’ Zemeckis’ superpower has always been his pioneering spirit, while his kryptonite is a penchant for unearned sentimentality. ‘Here’ fits that pattern to a tee, as Zemeckis dedicates his energy not to crafting fully dimensional characters, but to advancing the sort of “digital makeup” Martin Scorsese used to youthen the cast of ‘The Irishman,’ effectively draining the project of the very thing he set out to celebrate: life.
Based on what IGN’s Siddhant Adlakha had to say, he also believes this is far from one of Robert Zemeckis’ best movies. While discussing the movie (which also stars the likes of Paul Bettany, Kelly Reilly and Michelle Dockery), Adlakha also expressed dissatisfaction with the de-aging tech and the unconventional placement of the camera:
Here tries to be a cinematic translation of McGuire’s work, but given the distinctly theatrical quality of its presentation, it would’ve been more believable to dress Hanks and Wright up in wigs and makeup to make them seem younger. Between its singular vantage point, Bettany’s melodramatic performance and strained accent, the occasional use of the moon as a spotlight for soliloquy, and even wings for the characters to enter and exit scenes – a doorway to the left, and another space “downstage,” just off camera – the movie often feels like a taped stage production, albeit with the glossy sheen of modern VFX.
There are some critics who had positive thoughts to share on the drama film, though. Pete Hammond of Deadline acknowledged that the Cast Away helmer’s latest has its flaws. However, he ultimately appreciated the efforts from the Oscar-winning director and his cast and crew:
Here is a noble experiment, and a welcome dose of originality in a year full of sequels, even if it doesn’t quite work on every level. For me, I tried mightily to resist its emotional pull, but by the end I finally surrendered to it and shed more than one tear in thinking about our ever-changing place on this earth and how we have to somehow hold on to what is good in this life, even in the darkest of times.
Nevertheless, it feels as though the unusual camera positioning and jarring de-aging techniques were too much for a number of pundits. Mashable’s Kristy Puchko commended Robert Zemeckis for taking some big swings but also echoed some of the sentiments of her peers in regard to the not-so-smooth technical aspects of the film:
Perhaps this concept of a physical space as a sort of palimpsest, with characters living parallel lives, might have been more compelling on a stage or as a visual projection in a gallery. In the latter, the dialogue could have been pared down, or even eradicated to allow the viewer more freedom to interpret the action, rather than being spoon-fed the emotional beats. If it were played upon a stage, the character’s aging could have been communicated through costume and gesturing, wigs and make-up instead of the uncanny technology Zemeckis employs in Here.
Those who’ve been waiting to see a reunion between the lead actors and director of Forrest Gump – which is streamable with a Paramount+ subscription may be disappointed to hear the majority of these reactions. Still, you’ll ultimately want to check this flick out for yourself to form your own opinion. And, who knows, if you’re a fan of Robin Wright’s and Tom Hanks’ movies, you may get something out of the film. With that, you can see Here when it opens in theaters on November 1.
