Kelly Reilly

Here (2024): The People Who Brought You Forrest Gump Reunite for a One of a Kind, Beautiful Mess

Posted on by Jack Drees

“Here” is directed by Robert Zemeckis (Back to the Future, Forrest Gump) and stars Tom Hanks (Toy Story, A Beautiful Day in the Neighborhood), Robin Wright (Forrest Gump, The Princess Bride), Paul Bettany (WandaVision, A Knight’s Tale), and Kelly Reilly (Sherlock Holmes, Above Suspicion). This film chronicles various events over millions of years from the same location, capturing the moments and lives of those who live there.

First off, for those not aware or for those who happen to live outside the United States, this review is being posted just before Thanksgiving. Because you cannot have Thanksgiving… without “T Hanks.” In all seriousness though, Tom Hanks and Robert Zemeckis make for one of the most notable actor-director duos in Hollywood. The two have worked together to create films including “Cast Away,” “The Polar Express,” and in the past couple years, Disney+’s “Pinocchio.” Both people are reuniting for their latest collaboration, “Here.” Also appearing in the film, Robin Wright, therefore allowing for a “Forrest Gump” reunion. The fact that this film had talented, experienced people is only part of why I was looking forward to it. Having first seen the trailer to “Here” at my local multiplex a few months ago, I have been excited for it ever since. I was under the impression that this could end up being a unique film with a lot of potential.

From a camerawork and cinematography perspective, “Here” is by no means as immersively complex as “Birdman,” a movie that is set in multiple locations and uses blink you’ll miss it techniques to trick your mind into thinking it is done as one singular shot. But the selling point that kept me most interested in “Here” was getting to see the camera sit in a spot where it does not move. Having seen the film, I think the film gets creative with that concept, spanning different points in time. Everything from prehistory to the birth of the United States to modern times where we see the interior of a suburban house. The movie always maintains a quick pace from scene to scene, and even in moments that feel less relevant to the big picture, I was still hypnotized by everything that was going on.

That said, much like another Robert Zemeckis film featuring Tom Hanks, “The Polar Express,” this film could use some work when it comes to the characters. I have gone several holidays watching “The Polar Express” and even though the point a to b progression is clear for its protagonist, the Hero Boy, I cannot say I resonated with that film’s characters maybe to a degree I would have preferred. I always found the “experience” of watching “Polar Express” to be immersive, often inviting. But I wish I got to know the people in the film on a deeper level. Most of them are one-note or stereotypical. Similar to the ride to the North Pole in “The Polar Express,” I like the journey “Here” takes me on. This movie also has one notable improvement over “The Polar Express.” It does a better job fleshing out its main characters, a task that marvels me considering how many points in time and the list of people this film deals with. But even with that in mind, the characters themselves are still not the greatest when it comes to Zemeckis’s filmography. I am not going to remember anyone’s name from this film within the next couple months. If I watch this film a second time, which for the record, I would, I am probably going to be just as immersed as I was in the first. But whereas “The Polar Express” takes you on a fantastical voyage, “Here” is essentially like watching security camera footage but with twice the production value.

The one consistent story through a security camera is not always a person being captured, but rather the room or space someone just so happens to be in. Similarly, the story for “Here” is not consistent. It is bits and pieces. Perhaps it is an allegory on life itself. As we age, we remember certain times of our lives more than others, and maybe this movie is a reflection of our deepest memories. There are moments that speak to us, there are little things in the background, and even some times of our lives we would rather forget. It also shows how places can become a foundation of who we are. If you have a home for a long time, like the place or not, it becomes a part of you.

While I found the pace of the film to be a positive, I also found its fidgety structure to be a negative. The film is presented in a non-linear order, and in some ways, it works. Part of me wonders if Zemeckis wanted to do this film linearly at one point and was not loving it. I honestly do not know if the film would be any better had it been linear, in fact, one could argue it would be worse, I wonder if most audiences would like it. But still, the film is a bit clunky, though somewhat surprisingly, it also happens to be clear.

Once again, this is the latest project between Tom Hanks and Robert Zemeckis. But of course, another one of Zemeckis’s collaborators is here too, composer Alan Silvestri. Far and away, my favorite scores I have heard this year are definitely “Dune Part Two” and “IF.” And while Silvestri does not bring forth a score as memorable as those, he holds his own. Similar to “Inside Out 2,” this film opens with music that comes off as welcoming as can be. It is grand, it is prominent, it almost takes me into the screen. I could see myself listening to parts of the score in my free time.

For those who do not know their film history, “Forrest Gump” won Best Picture at the Academy Awards the year it came out. Having seen “Here,” it is hard to say that this film is going to be nominated for even one Oscar this year. Yes, Tom Hanks is given a lot to do. But I cannot name a moment of this film where he particularly stands out, and the same can be said for most of the ensemble. Though if I recall any actor in this film being a surprising standout, it would be Paul Bettany. “Here” is definitely not the worst film in Zemeckis’s library, but it is far from his best. It is no “Back to the Future,” though I will definitely remember this film more than “Allied” or that adaptation he did of Roald Dahl’s “The Witches” that ended up going to HBO Max. But I cannot lie, even though I would not say the film is perfect, it is a unique, fun, fascinating journey and I think it is remarkable how much material and substance some scenes are able to present about a specific time, specific people, and their lives with just so little material to work with.

In the end, “HERE” are my thoughts on the movie… I had a really good time with it! Is it messy? Sure, but much like the characters sometimes come to realize about the house we see for most of the film, it is sometimes a beautiful mess. I also dug the ending. The movie caps off on an emotional note. Kind of like Robert Zemeckis’s 2018 film “Welcome to Marwen,” I wonder if I am going to be alone when it comes to my positive opinion regarding this film. I loved “Welcome to Marwen” when I saw it. In fact, I loved it so much that I was shocked to find out how many other people did not like it. Having seen “Here” however, I can get why this movie would not work for certain people. At times it feels more like an experiment than a concrete story. But it does not mean the experiment is boring. I was invested from start to finish. I am going to give “Here” a 7/10.

“Here” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! If you want to see more reviews coming soon, stay tuned for my thoughts on “Gladiator II,” “Red One,” “A Real Pain,” “Y2K, “Juror #2,” and “Wicked.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Here?” What did you think about it? Or, what is your favorite collaboration between Tom Hanks and Robert Zemeckis? Let me know down below! Scene Before is your click to the flicks!

A Haunting in Venice (2023): A Not so Happy Halloween with Hercule Poirot

Posted on by Jack Drees

“A Haunting in Venice” is directed by Kenneth Branagh (Belfast, Hamlet), who also stars in the film as Hercule Poirot. Also joining him in the cast are actors including Kyle Allen (West Side Story, The Path), Camille Cottin (Stillwater, House of Gucci), Jamie Dornan (Fifty Shades of Grey, Belfast), Tina Fey (Saturday Night Live, 30 Rock), Jude Hill (Belfast, Magpie Murders), Ali Khan (Red Rose, Everyone Else Burns), Emma Laird (The Crowded Room, Mayor of Kingstown), Kelly Reilly (Sherlock Holmes, Yellowstone), Riccardo Scamarcio (John Wick: Chapter 2, The Woman in White), and Michelle Yeoh (Everything Everywhere All at Once, Shang-Chi and the Legend of the Ten Rings). This film is the third installment in Kenneth Branagh’s ongoing series of Agatha Christie novel adaptations. In this movie, Poirot is retired, but reluctantly attends a seance, an event where people attempt to make contact with the dead. Interestingly, that is how one person at the event ends up. Therefore, it is up to Poirot to figure out the mystery behind said person’s death.

Given how this is Branagh’s third Hercule Poirot adaptation in six years, I think his passion for the character is more evident than ever. He is once again starring as the heavily-mustached detective, in addition to putting his cushion in the director’s chair. That said, I wish I share the same passion for this series that he must have. For the record, I have still not found any time, and supposedly any interest, in checking out “Murder on the Orient Express.” I bought the 4K Blu-ray for a fairly cheap price, but even with the bargain, I still ended up never checking it out. Although I did see “Death on the Nile” last year, which I thought was in a word, fine. Even though it barely meets decency, I did technically watch it twice, as I put on HBO in a hotel room earlier this year and used it as background noise. I thought the casting was effective. And yes, I even liked Gal Gadot in it. Was she stiff at times? Maybe. But she still had enough charisma throughout the picture to be a highlight. Perhaps by just the barest of minimums, I still had enough interest to check out Branagh’s latest attempt at bringing the Poirot character to the screen.

Oh, and Michelle Yeoh is heavily used in the marketing for this film. So that won me over as well. With that in mind, how is the movie?

Unfortunately, not great.

I have seen some people saying online that “A Haunting in Venice” is apparently their favorite or the best of this particular franchise. Again, I still have not seen “Murder on the Orient Express,” but between “A Haunting in Venice” and “Death on the Nile,” I honestly would give the slight edge to “Death on the Nile.” Even with the film’s problems, I will still rather invested in everything that was going on. “A Haunting in Venice” has some entertaining moments. But it is also riddled with its fair share of moments that either annoyed or bored me. The pacing of this film is probably the most insufferable of the year.

The reason why “A Haunting in Venice” does not work, and I hate to say this because there are people I admire in this movie, is the cast. When it comes to these murder mystery style stories, I cannot imagine how hard it is at times to balance a large roster of characters like this. I do not envy Kenneth Branagh for putting himself in this position. That said, I wish the execution for these characters happened to be better. It’s been a little over a week since I have seen “A Haunting in Venice,” I honestly would not be able to tell you a single character’s name without the assistance of the Internet. That goes to show you how unappealing this movie’s characters are. And this is also why I give the edge to “Death on the Nile.” The story is more appealing. There’s more interesting drama. The rivalries kept my attention throughout. “A Haunting in Venice” had none of that. Honestly, as soon as the murder happens, the movie goes from being mediocre to a hot mess.

To be honest though, it is really sad to be saying this, because I think when it comes to the aesthetic of the film, that is the best part of it. I was totally immersed in the film’s environment, but not so much the story. Watching this film reminds me of sometimes when I would play “Watch Dogs.” I would spend some time playing that game neglecting the actual story and find myself more invested in hacking things around Chicago.

The production design of “A Haunting in Venice” is some of the best I have seen all year. I imagine if “Barbie” or “Oppenheimer” did not already exist, it could be my favorite production design of 2023. The film is set in the 1940s and the architecture, interior, and everything in between felt like they fit in with the time. While I will say “Death on the Nile” is the better film, I must admit this is one consistency that is carried over from that film to here, and it is one that is possibly better realized in this case.

Speaking of the film’s look, the cinematography is very well done from start to finish. It sort of fits the spooky, almost creepy crawly vibe the film is going for. If I had one complaint, it is that some of the imagery seems to be a bit fish-eye-like at times. It might not fish-eye by definition. But a lot of it reminds me of a fish eye effect. I would prefer if that effect, if there is one, were removed. There were some shots that were kind of distracting and took me out of the film for a second.

“A Haunting in Venice” is not just a murder mystery, it also doubles as a horror flick. Unfortunately, it is not much better as a horror flick than it is a murder mystery. The film is barely scary, if at all. There are a couple attempts to scare me that probably annoyed me more than they made me jump out of my chair. They kind of felt cheap.

To top this all off, I would like to remind you that this movie prominently features Michelle Yeoh, which I will remind you, earned an Oscar this year for her epic performance in “Everything Everywhere All at Once.” I honestly think the Academy made the right choice by giving her the win. With that in mind, it is still too early to tell, but I think the Razzies could potentially make as equally of a smart choice by nominating Yeoh for the next ceremony. This performance is not only a significant step down from her previous effort, but honestly, kind of wasted. Yeoh is a great actor, so I want to hope that this may just be based on the direction that was given to her by Branagh. But when we get to the moment where Yeoh says “Listening…,” I almost had a headache. Do not get me wrong, I still love Michelle Yeoh, but she has been in better movies, and given better performances.

In the end, “A Haunting in Venice” is one of the biggest bores of the year. Thankfully, it is not even Kenneth Branagh’s worst outing in the past few years. Have you ever seen “Artemis Fowl?” If your answer is no, you have just saved yourself an hour and fifty-five minutes of torturous nonsense. That said, of the two Branagh-directed Poirot films I have seen, “A Haunting in Venice” is the worst of them. Maybe one day I will watch “Murder on the Orient Express,” but knowing that this franchise not earned the highest of praise overall, it is hard to say whether I actually will check out that film anytime soon. I have no idea if Kenneth Branagh wants to continue this franchise, but part of me thinks the franchise has died at this point. Then again, maybe he has something neat up his sleeve and I am underestimating him. I always love a good surprise. Sadly though, “A Haunting in Venice” fails as a murder mystery, and it also fails as a horror movie. Terrible combo if you ask me. I am going to give “A Haunting in Venice” a 4/10.

“A Haunting in Venice” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Fun fact, this film was produced by one of the industry’s most revered directors, Ridley Scott. And this is the perfect segway to introduce an all-new segment that I will be debuting this month, RIDLEY SCOTTOBER! That’s right! Once a week, I have not decided on the days yet because this month is kind of busy for me, I will be dropping a brand new review for a Ridley Scott-directed film. It only feels appropriate. There is not too much coming out this month that I want to see right away. I should also note I am not a Swiftie. Plus Scott has a brand new film coming out in November, specifically “Napoleon,” therefore this serves as proper preparation. The first film in the series is going to be “Body of Lies,” a 2008 action thriller starring Leonardo DiCaprio and Russell Crowe. I will announce the other films to be reviewed at a later date. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “A Haunting in Venice?” What did you think about it? Or, what is your favorite of Kenneth Branagh’s Agatha Christie adaptations? Let me know down below! Scene Before is your click to the flicks!