The “Forrest Gump” director and stars Tom Hanks and Robin Wright reunite for a CGI-supercharged jaunt through history. Not the box of chocolates anyone wanted.
For worse far more than better, Robert Zemeckis has spent his career striving to push the boundaries of cinematic technology and technique, in movies ranging from, an adaptation of Richard McGuire’s 2014 graphic novel that dramatizes the events of a single geographic space in America over the course of human history, and with a particular focus on the experiences of one 20th-century family.
His camera never moving from its fixed location , the writer/director attempts to capture a sense of life—on a micro and macro level—in all its complicated, up-and-down glory. Yet formal tomfoolery proves his real center of attention, much to the proceedings’ detriment. Affected and artificial to the point of aggravation, it’s an interminably draggy endeavor that gives the lie to its oft-spoken phrase, “Time flies.”, in theaters Nov.
Zemeckis and editor Jesse Goldsmith meld these geometric visual quadrants and their disparate eras with grace, and they further move backward and forward along their chronological spectrum via multiple transitional devices—rapid cuts, dreamy fades, CGI smears, or sudden shifts brought about by lightning or camera bulb flashes.
Instead, he’s mostly concerned with depicting the totality of modern life in a sole structure—in this case, a dwelling owned by Al and Rose Young and later inhabited by their children, the eldest of whom, Richard , makes it his own home with wife Margaret and their offspring. For them, the abode is the epicenter of their lives, where they laugh and cry, fume and mope, celebrate and commiserate, and mature and evolve.
Hanks, Wright and their co-stars all overact in a vain attempt to breathe some measure of idiosyncrasy and vivacity into their parts, but the effort is for naught, since they’re stuck in a game of phony and facile digital dress-up.
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