It was only a matter of time before Robert Zemeckis got around to playing with de-aging technology, that modern cinematic magic trick of making veteran movie stars look kind of, sort of like their you
nger selves. The director of Forrest Gump and the Back to the Future trilogy has spent most of his career dabbling in the possibilities of digital effects — and, in several cases, advancing them. Inevitably, that vanguard preoccupation has led him to the same CGI fountain of youth from which unnervingly de-wrinkled, waxlike hologram phantoms of Samuel L. Jackson, Robert De Niro, and — going back to the curious and rather Zemeckisian case of Benjamin Button — Brad Pitt have previously emerged.
Recommended Videos Thanks to its two stars, a script by Eric Roth, and a plot that works in a lot of American pop-culture iconography, Here has been sold as a spiritual 30th-anniversary Gump reunion. But it just as readily functions as a 20th-anniversary companion piece to a less beloved Zemeckis picture: The Polar Express, which also turned Hanks into a digital facsimile of himself .
But the ratio of real to fake in Zemeckis’ work has shifted into severe unbalance over the years, with the filmmaker sometimes letting the human dimension be swallowed by his aspirations to technologically innovate. Early signs of trouble arrived in Back to the Future Part II, a reasonably fun sequel that replaced the magical-realistic charms of his original with a rather empty exercise in convoluted, time-jumping misadventure — including a closing act that finds Zemeckis splicing Michael J.
Back To The Future Forrest Gump Robert Zemeckis Robin Wright Tom Hanks
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