"Zero Day" and "The Residence"

Quick thoughts on two Netflix limited series today.  Minor spoilers ahead.

"Zero Day" is a show that I had been anticipating for a while.  It features an unusually high profile cast, including Robert DeNiro as ex-president George Mullen, Joan Allen as his wife, Lizzy Caplan as his estranged daughter, and Jesse Plemmons as his personal aide.  Angela Bassett plays the sitting president.  Every episode is directed by Leslie Linka Glatter.  The showrunner is Eric Newman, best known for "Narcos."  In short, "Zero Day" has a pedigree that few other series could match.  And somehow, it's borderline unwatchable.

What "Zero Day" wants to be is a political thriller about the aftermath of a fictional cyberattack on the United States, which destabilizes the country.  Mullen is appointed to be the chairman of a special commission to find the perpetrators, and resorts to some very questionable means to do this.  As you'd expect, there's a lot of sensationalism, a lot of improbable political developments, and a lot of chances for Robert DeNiro to give impassioned speeches.  The trouble is that "Zero Day" had the misfortune to have been delayed by the recent strikes, and was released in early 2025.  "Zero Day" is patterned more or less on the US response to 9/11.  Thus, it is operating in a political reality that bears absolutely no resemblance to the present day.  The secret conspiracies look absolutely ridiculous when the people currently in office are doing much worse out in the open without real consequences.  The cyberattack and resulting transportation and telecommunications failures aren't examined in any real depth, despite featuring so heavily in the marketing.  Instead, they're just the impetus for generic civil unrest that never seems as threatening as it's made out to be.    

I think what really sinks the show is that we see everything play out mostly from Mullen's very limited POV, and somehow everything important ties back to him personally.  It's his daughter who happens to be the Representative tasked with monitoring the special commission's activities.  He has personal relationships with nearly every important figure involved in the story.  It feels like the creators don't trust the audience to be engaged by the political drama without piling so much personal drama on top of it.  There are some attempts to reflect the current political landscape, such as including influential tech moguls and a loudmouth conspiracy theorist as thorns in Mullen's side, but it just makes it all the more obvious how tone-deaf and out of date "Zero Day" is.  The answers are too easy and the problems are too quickly resolved, the result of a small group of bad actors who can be handily dispatched after Mullen makes a few tough decisions.  I don't mind DeNiro getting to flex a bit, and I enjoyed seeing everybody from Dan Stevens to Connie Britton popping up in supporting roles, but too much of "Zero Day" is indulgent political fantasy with no depth to speak of.  

And now, on to something completely different.  Shondaland's latest project is "The Residence," an eight episode murder mystery comedy that takes place in the White House.  Created by Paul William Davies, "The Residence" follows the efforts of consulting detective Cordelia Cupp (Uzo Aduba) as she tries to solve the murder of the White House's Head Usher, A.B. Wynter (Giancalo Esposito), during a state dinner for the Prime Minister of Australia (Julian McMahon).  There is a very long list of suspects, including an executive pastry chef played by Bronson Pinchot, Ken Marino as a scummy presidential advisor, Jason Lee as the president's even scummier brother, and Kylie Minogue, appearing as herself.  However, Cordelia Cupp doesn't believe in suspects.  She believes in keen observation, scrupulous journaling, and birding.  And she does all of these things constantly as she tries to piece together what happened to A.B.

"The Residence" is the most flat-out fun I've had with a murder mystery series in some time.  It's extremely well written and well edited, juggling lots of different characters and incidents and clues.  Each episode introduces more suspects - the engineer (Mel Rodriguez), the social secretary (Molly Griggs), the party crasher (Timothy Hornor), the ambitious underling (Susan Kelechi Watson), and the president's mother-in-law (Jane Curtin), just to name a few -  and shows us events from many different POVs.  It's immensely satisfying when everything pieces together in the end.  The show is very self-aware, with Detective Cupp and her Watson figure, Agent Park (Randall Park), calling out tropes when they come across them, all the episodes named after other famous mysteries, and a framing device with Al Franken running a Congressional hearing into the murder for more meta commentary.  I really like the way some of the exposition is done, using montages of different interviews and conversations so that many disparate characters appear to be relaying bits of the same story, responding to each other, and adding to each other's testimonies.  Brief clips of particularly pivotal moments come back multiple times over the course of the show, building on each other, and helping the audience to keep track of different theories.  The Wes Anderson-ian humor is also great, with sight gags and silly callbacks galore.       

Despite taking place in the White House, "The Residence" is apolitical, and a nice break from reality.  Well, the President (Paul Fitzgerald) has a First Gentleman (Barrett Foa) instead of a First Lady, and Senator Bix (Eliza Coupe) bears a resemblance to a certain Republican Congresswoman, but the specifics never match up.  Instead, the show is very concerned with the inner workings of the White House as its own institution.  A nonfiction book, The Residence: Inside the Private World of the White House, by Kate Anderson Brower, is credited as the main inspiration for the show, and a significant amount of time is spent spotlighting all the different employees and departments that keep the place running, from the Head Usher to the butlers, gardeners, housekeepers, kitchen staff, and security personnel.  In the course of trying to figure out whodunnit, we learn all the ins and outs of the fictional household, and it's fascinating stuff.  One of the show's best visuals is when it shows us dollhouse-like views of the White House, to highlight the different rooms in relation to each other.    

I want to give special kudos to Uzo Aduba, who puts her own stamp on the eccentric detective figure.  Cordelia Cupp is odd, stubborn, and brilliant, as many fictional detectives are, but also wonderfully patient, accepting, and self-aware of her own flaws.  It's a lot of fun to watch her work, and I hope to see her again in another mystery someday.     

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The Worst 2024 Movies I Bothered to Watch

This was a lot of fun to write last year, so I think it's going to be a regular feature.  All the usual caveats apply.  I'm not a professional critic and do my best to avoid seeing the movies that usually end up on "Worst of" lists, so I have not seen the real bottom-of-the-barrel dreck.  The list is in no way comprehensive, and mainly just a way for me to let off some steam as I'm working through the last few titles from last year.  It's a few months until I can finalize my "Best of" list for movies, but I'm pretty much done seeing all the mainstream releases I care about.   Minor spoilers ahead. 

The Lord of the Rings: The War of the Rohirrim - This movie was doomed the second the trailer was released.  I don't think that a new animated "Lord of the Rings" movie is a bad idea - the Bakshi version is a cult classic - but the anime style was the wrong way to go here.  I've read up on what was going on with the production, and all the great talent and all the technical wizardry involved, but the end result just looks disappointingly bland and generic.  It may not have been a film that was created just to keep the rights to the franchise with New Line, but it sure feels like one.    

Mother, Couch - Sometimes you see a terrible film from a first time director, that somehow has an A-list cast and resources that other directors would kill for, and you have to applaud everybody for taking a big risk that in no way paid off.   "Mother, Couch," was directed by a Swedish guy named Niclas Larsson, who made some award-winning short films and commercials.  From interviews, he seems to think he's made a horror film.  I think he's actually aiming for an absurdist existential comedy, but wandered off course.  There are some signs of talent, but Larsson's not ready for long form yet.

The Crow - Easily my biggest disappointment of the year, because I really loved the original "Crow" movie starring Brandon Lee, and I often like Bill Sarsgaard as a leading man.  This remake, directed by Rupert Sanders, occasionally has some good-looking visuals, but it's clear that Sanders still doesn't know how to do action, the writer doesn't understand the material, and the performers are all left adrift.  After decades of different versions in development limbo with so many actors and directors attached at various points in time, I can't believe this is what actually got made.

Cold Copy - A thriller about a young journalist who uncovers her mentor's unethical tactics isn't a bad premise.  It's just that everything about the portrayal of journalism in this film is decades out of date, and the unethical tactics are tame compared to what we know actually goes on in the industry.   Bel Powley and Tracee Ellis Ross are doing the best that they can, but they don't have much to work with.  "Cold Copy" is the brainchild of another European first-time director, Roxine Helberg, who made a lot of commercials.  I think it's better than "Mother, Couch," but not by very much.    

Bagman - Colm McCarthy is a very solid British director, whose last horror film was the excellent "The Girl With All the Gifts."  So what happened here?  The script is nonsense.  There's no atmosphere to speak of.  The bagman monster is kind of interesting at first, until you realize that it isn't actually going to do anything scary. Like the recent "Wolf Man," the parental anxiety themes are laid out well enough, but all the subsequent chills and thrills fall totally flat.  Also, was there a coherent ending to this film that was left on the cutting room floor somewhere?   

Reunion - I suspect the plan was to stick a bunch of talented actors and comedians in a by-the-numbers murder mystery together, and hope something watchable would result.  Well, it didn't. Lil Rel Howery, Billy Magnussen, Jillian Bell, and Jamie Chung all spend 94 minutes bumming around somebody's house, going through the motions as the plot slowly works itself out around them with zero thrills, laughs, or surprises.  The writers are the guys behind the "Edge of Sleep" series with Markiplier, so you can draw your own conclusions.   

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My Favorite Charles Laughton Film

Beloved stage and screen actor Charles Laughton only directed a single film, which was received so badly upon its release that he never made another.  However, it enjoyed a great critical reappraisal over the years, and "The Night of the Hunter" is now widely considered one of the best American films ever made.  It's a Southern Gothic chiller brought to life through German Expressionism, featuring one of Robert Mitchum's most iconic performances.  Its distinctive visuals are an homage to silent films - but unfortunately "The Night of the Hunter" was made in the 1950s, an era where nobody wanted anything to do with silent films.  

The story unfolds like a fairy tale, told largely from the perspective of two children who hold a dangerous secret.  The setting is a small town in West Virginia during the Great Depression.  The wolf at their door is the evil, murderous preacher Harry Powell, best remembered for the tattoos of "Love" and "Hate" across his knuckles.  Mitchum makes Powell calculating and intimidating and very, very charismatic.  His seduction tactics are rough and unpolished, but the traumatized and deeply religious widow played by Shelly Winters doesn't stand a chance.  All too soon they're married, and the evil preacher is now the evil stepfather as well.  The townsfolk fall for his oratory, and soon the children have no one left to protect them.  There was a lot of concern around Powell being perceived as too much of an anti-Christian presence onscreen, and at least one other major star turned down the role for being too villainous.  Mitchum, however, needed no convincing, and Harry Powell may still be the character he's best remembered for.       

There's a starkness and a simplicity to the film that is absolutely riveting.  Many of the suspense sequences have little to no dialogue, or are driven by Walter Schumann's score.  The child's eye view of the world and heavy use of religious and natural symbolism set the scene for a battle between good and evil in the most elemental terms.  As Powell puts it, it's the little story of right-hand/left-hand.  Laughton uses multiple silent film techniques and fills the screen with older cinematic devices and macabre Expressionistic imagery that had largely gone out of style in the sound era.   The black and white cinematography relays the story in light and shadows, and in some key scenes the characters are only visible as silhouettes.   So much of the storytelling is done through the shot compositions and set design, particularly the night sequences that can make the most idyllic settings seem eerie and threatening.  Huge portions of the screen are allowed to be totally dark, creating the opportunity for images with these dramatic, gorgeous contrasts.

One of the most famous scenes involves the reveal of a corpse seated in a car at the bottom of a flowing river, a surreal underwater shot created entirely in a studio by Laughton and cinematographer Stanley Cortez.  Other shots feature exaggerated storybook images, achieved with experimental editing tricks and clever stagecraft.  At one point the silhouettes of a horse and rider arrive on an impossible horizon, clearly artificial and yet incredibly  unnerving.  Children's faces appear in the stars, animals watch over the escape on the river, and Harry Powell casts a looming shadow that dwarfs everything in its path.  Children's songs and games are a recurring motif, and a framing device shows an old woman telling a group of children a warning fable about the "wolf in sheep's clothing." 

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That old woman is Rachel, the only grown-up who sees Harry Powell for exactly what he does, and joins in the fight against him in the last act.  She's played by silent film veteran Lilian Gish, toting a rifle as she tells her foundlings Bible stories.  She's symbolic of a true Christian winning out over a vile pretender, of good triumphing over evil.  Faith is restored, the night ends, and everything is brought out into the daylight.  However, the legacy of Harry Powell has persisted through both horror and non-horror cinema, and Charles Laughton is now better known in some circles as a great director than a great actor.  

What I've Seen - Charles Laughton

Night of the Hunter (1955)

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"Squid Game" is Back

Minor spoilers ahead

Did we need another season of "Squid Game"?  Obviously not, but the new one is doing everything right.  Also, there were a few loose ends left from the first season that it's nice to see getting tied up, and I'm not going to begrudge creator Hwang Dong-hyuk for pursuing a pay bump.  If you liked the first season of "Squid Game," you'll probably like the second.  However, be warned that the seven episodes that Netflix released in December are only the first half of a longer season that was split in half for various reasons, and this batch ends on a cliffhanger.  

So, Seong Gi-hun (Lee Jung-jae) is still searching for the people behind the mysterious games where hundreds of people battle to the death for the chance at a cash prize.  I don't think it's too much of a spoiler to say that he's not quite successful, accidentally putting himself back into the games while a team of his employees are trying to find him and the secret island where the games are held by the Front Man (Lee Byung-hun).  There's a rule change this year, and contestants are allowed to vote for the games to end by simple majority after every round, and keep whatever money has been accumulated.  Gi-hun spends a considerable amount of time trying to convince the other players to vote to quit.

The players this year are an interesting bunch.  Gi-hun quickly teams up with an old friend, Park Jung-bae (Lee Seo-hwan), a former Marine Dae-ho (Kang Ha-neul), and a transwoman Cho Hyun-ju (Park Sung-hoon).  Others include a mother-son duo, a pregnant girl and her ex, a crypto Youtuber, and a rapper named Thanos (Choi Seung-hyun).  In an interesting wrinkle, we also follow one of the guards, 011 (Park Gyu-young), whose motives are yet unclear.  There are a few new games this year, but with the shock value of all the deaths significantly reduced, the show spends more time on the psychology of the players between the games.  It quickly becomes clear that even with the promise of receiving some money for their efforts, and even with Gi-hun explaining what will happen to them, many of the players are incentivized to keep playing.  Some of this is because of the characters' personalities, but others are influenced by group dynamics, peer pressure, and the choices of others.    

It's hard to judge this season because it's clearly unfinished, with several of the subplots progressing pretty slowly.  The creators have made a promising start, but it's hard to say how well they're going to hit some of their intended targets.  There's a welcome refocusing of the satire and social commentary to look at the mechanisms for why people act against their own best interests, but none of this has paid off yet narratively.  The show is also moving at a slower pace this season, and most of the sympathetic characters are still alive, so it's nowhere near hitting the melodramatic peaks of the first season.  

However, I feel like this season of "Squid Game" is in many ways better than the first.  We have several different characters working at cross purposes with a variety of different agendas.  The formula set up by the first season is subverted and interrogated in various ways.  There's not as much exploration about what goes on behind the scenes of the games as I would like, but the new information we do get is intriguing.  For instance, most of the first episode of this season is spent with The Recruiter (Gong Yoo), who turns out to have a fascinating mindset.  Also, those cringey foreign VIPs in the animal masks do not make an appearance this year. 

Where the show has lost a step is with the games themselves.  So far no clever strategies or techniques have been employed during the gameplay.  No sudden twists or sacrifices have occurred.  None of the kills have been especially creative.  Gi-hun isn't there to win the game but to stop it and save as many people as possible, so the stakes are very different.   I'm not surprised that many of the gore junkies have gotten impatient, even with all the carnage in the format-breaking finale.

I, however, am not watching this show for the gore, and I'm looking forward to season three.  

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"Gladiator II" and "Juror #2"

So, what have our seniormost senior directors been up to lately?

If you like the first "Gladiator" movie, you'll probably like "Gladiator II."    It's very much a retread of the first movie, starring a new hero named Hanno (Paul Mescal), whose wife is killed in a battle against invading Roman forces under General Acacius (Pedro Pascal), and ends up a gladiator owned by the conniving ex-slave Macrinus (Denzel Washington).  Acacius turns out to be married to Lucilla (Connie Neilson) from the first "Gladiator," and secretly planning to overthrow the degenerate twin emperors currently in charge of Rome, Geta (Joseph Quinn) and Caracalla (Fred Hechinger).

I've missed good, old-fashioned action spectaculars like "Gladiator," where the director isn't afraid to kill off most of the cast, because they need to worry about sequels or setting up a franchise.  The killings here are also very graphic, and often very creative.  Hanno fights an opponent who rides a rhinoceros into the area.  Later, the Coliseum is flooded so that a naval battle can be reenacted.  I'm betting that when the actual Romans did it, they didn't put sharks in the water to chow down on the unfortunate combatants, but historically gladiators didn't typically battle to the death anyway, so historical accuracy wasn't really ever in the cards.  When we're out of the arena, "Gladiator II" isn't too interesting.  The characters are thin, though the excellent cast is very good at pretending they aren't.  Denzel Washington is the most fun to watch as the genial villain, Macrinus, who steals every single scene he's in.

I'm not a big fan of the original "Gladiator," but the movie assumes that I am, spending the whole opening sequence replaying the greatest hits from "Gladiator," and recycling a lot of the visual motifs.  There's a big twist that depends on a relationship from the first movie, and a character I didn't even remember existed.  It didn't really impact my enjoyment of "Gladiator II," except to remind me of the deficiencies of the original movie.  I suspect that the sequel may be a worse film, but I enjoyed it more because Ridley Scott and his collaborators were willing to lean into the spectacle and melodrama more wholeheartedly.  Scott's last few movies had me worried that he was coming to the end of his viability as a commercial filmmaker, but "Gladiator II" shows he still knows how to please an audience.        

 

Now, on to the latest Clint Eastwood film, which some are predicting is the last Clint Eastwood film.  "Juror #2" is a very old fashioned kind of courtroom drama and morality play, with a few scenes that contain direct echoes of "12 Angry Men" and other classics of the genre.  The titular juror is Justin Kemp (Nicholas Hoult), a recovering alcoholic with a very pregnant wife, Ally (Zoe Deutch).  The case involves a woman who was found dead, with all signs pointing to her boyfriend as the perpetrator.  Justin comes to believe that he may have actually killed the woman in a hit-and-run, and his guilt drives him to influence the jury to find the suspect innocent.  Supporting characters include the district attorney (Toni Collette), the public defender (Chris Messina), the judge (Amy Aquino), and a juror who turns out to be an ex-police detective (J.K. Simmons).

"Juror #2" is very no-frills and matter-of-fact, with some good performances and decent enough writing for a legal thriller.  The filmmaking is sparse, as it usually is in Eastwood films, and though the editing is a little jarring for my taste, there are no major unforced errors.  The case and the way that events unfold are preposterous, but we see far worse procedural and legal mistakes every night on network television.  "Juror #2" is not about law or justice, but about putting the viewer in the shoes of a man facing an awful ethical dilemma, and getting them to empathize and relate, and it does that pretty well.  There have been a couple of attempts over the years to turn Nicholas Hoult into a leading man, and he's clearly got the acting chops for it.  However, I think he's a character actor at heart, and "Juror #2" benefits from that.  The movie is small, but sturdy, and a better swan song for Clint Eastwood than any of his films from the past decade.  

   

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The Age of "Adolescence"

Spoilers for the first episode ahead.

Netflix's "Adolescence" is being billed as a mystery or a thriller in some places, which is misleading.  It's a four-episode miniseries about a terrible crime, and there are certainly elements of suspense and tension, but we know who was responsible from very early on.  Instead, "Adolescence" is better characterized as a social drama, each episode covering a new development in the investigation and resulting fallout.  In addition, each episode is done in one nerve-wracking shot, with no cuts, and apparently no technical cheats.   

Created by Jack Thorne and Stephen Graham, "Adolescence" is about a 13 year-old who is accused of murdering a classmate. Graham plays Eddie Miller, the father of Jamie (Owen Cooper), a sweet-looking kid who is arrested in the first episode by DI Bascombe (Ashley Walters) and DS Frank (Faye Marsay).  The second episode follows the detectives when they conduct interviews at Jamie's school.  The third is spent with Jamie while he's being interviewed by a child psychologist, Briony Ariston (Erin Doherty).  Finally, the fourth focuses on Eddie, his wife Manda (Christine Tremarco), and their daughter Lisa (Amélie Pease) dealing with the aftermath several months later.

"Adolescence" is designed to ask questions and spark debate, not to provide all the answers.  We get a rough idea of what happened and Jamie's probable mindset, but there is so much left unresolved for the audience to parse themselves.  We don't know why the victim's friend, Jade (Fatima Bojang), attacks Jamie's friend Ryan (Kaine Davis) during the school episode.  We don't know if the version of events relayed by Jamie to Briony during their session is truthful.  We don't know how much responsibility the Millers have regarding Jamie's actions.  We don't know what part his school environment or his friends might have played.  There's certainly a lot suggested by what we witness, but nothing confirmed.  The performances from the entire cast are excellent, with Stephen Graham anchoring the whole enterprise with heartbreaking commitment.  It's also hard to believe that this is Owen Cooper's first screen role, as he displays a remarkable amount of control over Jamie's shifting moods and mannerisms.    

I appreciate that "Adolescence" is keen on tackling current events and issues head-on.  Ripped-from-the-headlines media like "Law & Order" or the Netflix true crime docuseries are usually so sensationalized, it's a real surprise to find something that's approaching these subjects with real care and nuance.  The Miller family is completely ordinary, and the parents have no major domestic issues or personal problems, so you can't point to any of the usual suspects for Jamie's disturbing behavior.  There's more scrutiny placed on school and the internet, where adult supervision is lacking, social safety nets are failing, and kids are falling through the cracks.  Alarms have been raised for years now about how educational institutions have been in crisis post-Covid, and seeing the chaos up-close is a real eye-opener.  There's also a gentle, but pointed push for parents to be more involved in their children's lives, as a recurring theme throughout the show is that the well-meaning adults have little to no idea what's really going on with their kids.  

The UK has a long history of producing excellent social dramas, but Ken Loach and Mike Leigh have slowed down lately due to funding troubles, and it's been a while since I've seen a piece of drama that feels so immediate and so relevant to the lives of everyday people.  It's wonderful to have "Adolescence" carrying on in their footsteps.  I don't know that the one shot format adds all that much narratively, but it's all very well done.  And if the fancy filmmaking attracts more viewers, then I'm all for it.  I think we need much more media in this vein being produced, hopefully by creators as insightful and empathetic as the ones responsible for "Adolescence."

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"Conclave" and "Here"

Quick thoughts on two more prestige pics.

I probably wasn't in the best mindset to watch "Conclave," which is about the election of a new Pope in the present day.  Ralph Fiennes stars as Cardinal Lawrence, the Dean  of the College of Cardinals, and the one in charge of running the conclave.  Among the hopefuls are the liberal Cardinal Bellini (Stanley Tucci), far right Cardinal Tedesco (Sergio Castellitto), popular African conservative Cardinal Adeyemi (Lucian Msamati), ambitious moderate Cardinal Tremblay (John Lithgow), and an obscure newcomer, Cardinal Benitez (Carlos Diehz).  Isabella Rossellini also plays a minor role as Sister Agnes, who heads the nuns serving the assembled cardinals.    

"Conclave" is essentially a political thriller, full of secretive conversations and new information being revealed every few minutes.  I went in expecting a more earnest depiction of the conclave process, and what I got was closer to something out of an airport paperback.  The performances are good, and director Edward Berger does a great job of putting interesting things onscreen - the Vatican pageantry is on full display - but the handling of the material felt shallow.  Actual debate over doctrine and faith are explored to some extent, but are also totally dwarfed by the scandals involving the individual cardinals, and some very high-school level factionalism.  I was especially exasperated by the very last reveal about the newly elected pope, which just felt like a needless soap opera twist for the sake of having a final punchline.

Of the excellent cast, Fiennes stands out as the good man put in the terrible position of having to ensure a fair process, despite very unfair tactics being employed on all sides, while under unimaginable pressure.  His internal journey is the most believable and affecting part of the film, particularly when has to face his own faults and ambitions.  The plot machinations are otherwise far too contrived for me to take seriously, and I find myself classifying "Conclave" with the adaptations of Dan Brown's Robert Langdon novels instead of something like "The Two Popes," which presents a far more even-handed and approachable depiction of the modern day Catholic leadership.  I don't mind some liberties being taken for the sake of entertainment - and "Conclave" is certainly entertaining - but I was hoping that this film would also be a little more grounded and sober in light of the subject matter.  

On to "Here," which I wasn't planning on writing anything about originally, until I thought about it in the context of the rest of Robert Zemeckis's career.  Zemeckis is a director whose work is marked by technical innovations, who always seems to be pushing at the limits of what filmmaking can do.  "Here" is very much a film that fits into this mindset, and is built around the gimmick of the whole narrative playing out in a single location and within the frame of a single camera shot.  We move backwards and forwards in time, watching the lives of multiple families playing out, because the imaginary camera happens to look in on the living room of a house somewhere on the East Coast.  Occasionally, floating rectangular inset panels will change only parts of the frame, so we can see multiple points in time simultaneously.  

There's a ton of other effects work involved here, including many instances of digital de-aging, face swapping, CGI backgrounds, animation, and more.  The timeline of "Here" covers everything from the dinosaurs to the present day, but is primarily about the life of Richard Young (Tom Hanks), his parents Al (Paul Bettany) and Rose (Kelly Reilly), and his wife Margaret (Robin Wright).  Other people who inhabit the same house include an aviator in the 1900s, an inventor in the 1940s, and an African-American family in the COVID era, who we get glimpses of in counterpoint to the Youngs' story.  Richard and Margaret live out an eventful, but fairly typical suburban American life, full of disappointments and setbacks, but also many small joys and important milestones.  The de-aging work is pretty seamless, and it's fun to watch the various scene transitions play out.  

The narrative, however, never struck me as more than an interesting formal experiment.  Most of the heavy lifting of creating the film's visual language was already done by Richard McGuire, whose comic "Here" provided the source material for the film.  The script by Zemeckis and Eric Roth is well-intentioned, but very narrow in scope and too sentimental for my tastes.  All the men are frustrated dreamers of one kind or another, and nearly all the women are unhappy.  There's some humor and some subversiveness here and there - the kids are allowed to be real brats - but I was mostly reminded of Zemeckis' work on "Forrest Gump," and not in a good way.

The innovation is admirable, and I hope it wins a lot of tech awards, but "Here" isn't where I'll be returning anytime soon.

  

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