"Here"

If walls could talk...

Director Robert Zemeckis (“The Walk,” “Polar Express”), known for his penchant for experimenting with technological advances, reunites Tom Hanks (“Saving Mr. Banks,” “Captain Phillips”) with Robin Wright, 30 years after they starred in “Forrest Gump.”  

In “Here,” they are de-aged down to more than 40 years with remarkable believability, although it's clearly not perfect and noticeable in some aspects.  The de-aging technology, combined with the fixed camera angle framing the spot, which eventually turns into a window-facing living room, as well as vignette storytelling style, results in a unique film.  It also appeals as a family movie or something to watch together during the holiday season.

“Here” begins all the way back in time, zooming in on the exact same spot where the eventual living room would exist – when dinosaurs roam free on Earth, meteor strikes, ice age, greening of the planet, and human civilization.  

The story is told in numerous vignettes non-linearly, going back and forth between pre-colonial, colonial, jazz era, war periods, early and mid 20th century, and the current 21st century.  The view seen from the same window turns from the lush forest into the house across, people, street, horse-drawn carriages, steam engine cars and modern vehicles.  

Multiple couples and families occupy the house, and the story flashes back and forth, although the Young families, starting in the 1940s and all the way through the present time, are the focus of the film.  Al (Paul Bettany, “Transcendence,” “The Avengers” series) and Rose (Kelly Reilly) first make the house their home.  Al is dealing with the aftermath as a soldier returning from war.  Rose, being a woman of that era, is the dutiful housewife and mother, with no other option.  

Richard (Tom Hanks) is the Young's son and Margaret (Robin Wright) is his girlfriend.  Richard has a passion for painting and Margaret aspires to be a lawyer.  Their dreams come crashing down when Margaret becomes pregnant at 18.  Richard has to earn a living and turns into sales and Margaret becomes a housewife. 

When Violet, their daughter, is born, the multi-generational families continue to live in the same house due to financial reasons, even as Margaret really wants to move out and have a place of their own.  Through time, they get older and realize that the lives they build together are no longer what they want.  They discover themselves, grow, drift apart, although they still love each other.  

The way the movie is filmed makes it like a stage play.  Contrivance is inevitable with the one-room setting, and sometimes scenes are cut and fade away before an emotional element truly makes an impact.  The sheer number of characters doesn't allow us to get to know most of them.  Understandably, the film has its critics.  It might have been better if the stories were told linearly, still, it's easy to follow the Young families and feel invested in their lives.  A throughline from the earliest native American couple makes a sentimental surprise.

The film touches on patriarchy, slavery, war, sexism, women's agency and independence, racism, and the pandemic.  Life events happen and evolve through multiple families over a 100-year period in the house.  House search, coupling up, domestic bliss, pregnancy, wedding, birth, kids, career, aging, illness, death, funeral service, reunion, celebrations and holidays.  Happiness, heartbreak, tears, struggles, success, fights, loss, grief, love, laughter and joy are seen or heard from the same vantage point.  Right here, these same walls witness so much history and significance.  

Through centuries and generations, “Here” is a full circle of life, filled with moments, milestones and memories.

"Heretic"

From 10/30/2024 press screening:

“Question everything.”  

Why do you believe what you believe?  Have you ever considered that maybe it’s because of how you’re raised and told all your life?  

Two young missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), are doing what they are supposed to be doing, proselytizing, spreading the word about the teachings of their church in their community.  On one fateful day, they knock on an older gentleman’s door, Mr. Reed (Hugh Grant; “Wonka”).  

Mr. Reed has expressed interest in learning more about the religion and he invited the Sisters into his home.  The Sisters have taken precautions before entering the older man’s abode – they have provided the church a list of people they will be visiting, they walk in a pair, and also have asked for a woman’s presence in the home.  

Affable and warm, Mr. Reed says that his wife is inside making a blueberry pie, in which the homemade cooking could be smelled from outside.  The day turns blustery and the Sisters decide it’s safe enough to come in.  Never would have they predicted that it might be the last time they would be able to see the light of the day. 

After initial pleasantries, the Sisters learn that Mr. Reed is a voracious reader and highly educated in the history of religions.  While very impressed, they have noticed that it’s taking a while for his wife to come out with the promised blueberry pie.  Not only that, some of the lights flicker off.  Meanwhile, the blustery day outside turns into one blizzard of a night. 

The Sisters try to fake polite excuses to leave, but begin to panic inside when they find the entrance door knob is either stuck or locked.  They realize their predicament when they are told that the front door has a timer and cannot be opened until the next morning. 

Panic turns into fear and terror, in a suspenseful ambiance of dimmed lights, dark hallways, rickety doors, and layers of rooms in a labyrinth of a house with a play on darkness and shadow.  Each time a door is opened, you don’t know what’s behind it and what it may lead to, heightening the fear of the unknown.  The Sisters’ faith is tested to the limit and their survival may depend on whether they can outwit and outlast the twisted trap.  Plans and prayers may not save them from falling prey to predator Mr. Reed.    

It’s a game where each party knows what the other party means, while pretending and presenting a façade of innocence to get what they want most.  Continuous dialogue and debate on myth, history, faith, spirituality, religion, prayer, higher power, savior, resurrection and afterlife, with the Sisters trying to figure out how to escape the death trap set by a maniacal and diabolical evil.  Surprisingly, the Sisters are not as naïve as they appear to be.  Slight movements are noticed and words are interpreted in different ways, challenged and turned around.  Everything is articulately delivered and phenomenally acted all around.  

You don’t need to be spiritual or religious to be taken along for the sinister and scary ride, and believe it or not, humorous from time to time.  The film answers the question of what the one true religion is, considering there are numerous religions in the world and iterations over centuries.  It's refreshing to see a story with originality and creativity that not only makes you tense, squirm, uneasy and queasy, but also laugh at the same time.  

An argument about the human existence and way of life – why we believe the way we do and how our beliefs influence how we live our lives – unfolding with equal sense of dread, horror and humor.  As a psychological horror thriller, “Heretic” is a thought-provoking, bone-chilling, diverting and divisive duel of ideas.