39/29
A generational story about families and the special place they inhabit, sharing love, loss, laughter and life.. Based on the comic book "Here" by Richard McGuire. It was first published as a strip in the comic book magazine "Raw" in 1989, and was expanded into a 300-page graphic novel in 2014. At one point in the film, Richard’s father names several towns that he thinks are on the Pennsylvania Turnpike, when in fact they are all towns on Interstate 80, PA, which had not even been built at the time.. [from the trailer] Richard: You know, if you want, you could spend the rest of the night here.Margaret: I could spend the rest of my life here.. Features They Stooge to Conga (1943). Concerto for Clarinet, Pts. 1 and 2. Written by Artie Shaw. Performed by Artie Shaw and his Orchestra with support from RCA RecordsBy arrangement with Sony Music Entertainment. LIKES: Good acting, realistic in many aspects of life. Dynamic use of settings/settingsCreative transitionsAging technologySome exciting connections At times I liked the artistic angle. The film’s advertising didn’t lie to you. This is a film that truly is one of the most unique concepts we’ve seen in a while. The film relies on enjoying the fixation of a single camera/location and telling the story of the effect of time on life and the people who move through it. Zemeckis has accomplished this task on many levels and has managed to make good use of the space and maintain the dynamism of the shot despite it being so static. The dynamic set changes help make this piece exciting, as the idea of changing furniture is a feature of the house itself, which is impressive and serves as a metaphorical window into life. I loved seeing how the rooms were lived in, and the families who each called the villa home, seeing how their interactions, auras, and personalities brought a different light to the scene and told their own micro-stories. The transitions were done with the contours of the photographs, drawing attention before slicing into a new scene, the technique is smooth and rarely overdone for me. There were many creative facets to it, but they never lost the anchor of realism to make this a nice, balanced piece. As for the story and acting, the A-list talent helped bring this film to life and achieve its goal of being a film that looks at life. Here is a film that relies heavily on relevance and the cast to bring that relevance to life. As for the story, it rarely strays from the people living their lives, taking fragments from different periods and reflecting them in the era. The ups and downs are beautifully captured on screen, and Zemeckis' The vision helps drive the concepts home and hit you with that emotional punch that this film promised. When I was struck by the relevant tales, it only strengthened my connection to the film further, and I found my inner self rethinking what this film had to teach me. The acting is there to give words to the visions, and much of the dialogue is poetic, but it’s not overly Shakespearean. Bethany was a surprise, and while it wasn’t as engaging or dynamic as her Disney films, it still manages to surprise me with a standout performance from the Boomer generation as they grapple with the rapid changes the world is experiencing. Wright’s return to the screen is fierce, as her character teeters between hilarity and madness. It’s a brilliant portrayal of the struggle that befell so many in her place during the great decades of change. Hank is, of course, as talented as he has ever been, incorporating elements of his other characters into every moment of his life and doing so with the same class and vigor he almost always displays on screen. It’s the chemistry that works, this family atmosphere feels so natural and almost authentic with strong cues guiding the characters and never falling too far into Hollywood stereotypes.
