Robert Zemeckis is an innovator. Since the early days of his career, the man behind Back to the Future, Forrest Gump and more has pushed the boundaries of what you can achieve with cinema. His pioneering work in the realm of motion capture (which, ittedly, doesn’t work for everyone) is often cited as him playing with new toys, but the reality is that he’s always been testing out the limits. Gump saw him splicing his main character into archival footage (helping earn it an Oscar for Best Film Editing, one of its six wins). Who Framed Roger Rabbit melded animated characters with human beings. Death Become Her spun Meryl Streep’s head entirely around like it was made out of elastic.

Zemeckis’s latest adventure is Here, adapted from the graphic novel by Richard McGuire and written for the screen by Forrest Gump’s Eric Roth. The bold hook for the film is that exists entirely within one set frame, observing a single location across literal centuries—from the time of the dinosaurs to well into the future. The crux of the story centers around a family, led by Tom Hanks and Robin Wright (further Gump credentials, a charming reunion on that Best Picture winner’s 30th anniversary year), with de-aging technology used to trace the stars through decades.

Here premieres at AFI Fest on October 25 before its US release on November 1. To mark the occasion, we took a look through the Letterboxd data at how our rate the entire filmography of this legendary director, and what some of you had to say about each work. 

21. Pinocchio (2022)

Average rating: 1.9

“I guess the biggest problem everyone will have (and I had it too) is the inconsistencies in the CGI. This is where the audience will draw their attention in either being on board with it or choosing modestly to turn it off. There are a few scenes that are really engaging and amusing. If I have to put them in order: the fox and the cat which was by far my favourite was very theatrical and well-designed. Pleasure Island was pretty neat to look at and the marionette show was very creative. On the other hand, Pinocchio’s nose growing and the whale scene are easily my least favourite, where I feel they totally miss the mark. I mean, did you really need a cthulhu monster instead of a traditional whale? Isn’t a giant whale not already monstrous?” —Deathy

20. Roald Dahl’s The Witches (2020)

Average rating: 2.2

“Hathaway chews scenery in this decidedly lighter take like she’s been craving it as long as her wicked character has been buying ostentatious wigs. And it’s a blast to behold. Her delicious work and especially Octavia Spencer’s MVP picture-of-warmth performance make this unfortunately CGI-heavy remake worth checking out. Speaking of the CGI, has there ever been a clearer example of why practical effects win over them, hand over fist? Not even James Cameron could convince me otherwise when it comes to this story and the terrific work the Jim Henson-led adaptation did.” —👻 Spooky Fred 🇵🇷

18. Welcome to Marwen (2018)

Average rating: 2.8

“The film’s biggest flaw is its almost irresponsible handling of this very tragic story, turning it into things that it was never meant to be. As you watch the documentary and read Mark’s story, the last thing that comes to mind is an Amblin-style movie. Zemeckis failed to balance these two tones and as a result what you get is two completely different films clashing with each other. The performances are quite good, especially Carrell, who captures much of Hogancamp’s personality. Despite feeling like they belonged to another film and most of the narrative feeling incomplete, the animation is not too bad, and it’s also an improvement over the director’s [previous] efforts. The cinematography isn’t spectacular, but it’s effective.” —Rafael "Parker!!" Jovine

17. What Lies Beneath (2000)

Average rating: 3.1

“Robert Zemeckis’s adult horror-thriller is a totally watchable spook story that’s finely directed and contains some great special effects that still hold up to this day. Pfeiffer is the main reason to watch this though, she absolutely owns this role and outshines Ford who sadly doesn’t really come alive until the final act. My main gripe with What Lies Beneath is that with its many twists and turns, you can totally see the final outcome coming a mile away. Like I honestly don’t know how you wouldn’t see this in the theatre back in 2000 and not totally guess the ending.” —Christian Di Leo

16. A Christmas Carol (2009)

Average rating: 3.1

“I have one question, why is this movie so damn creepy? Robert Zemeckis went through a very strange phase where he was just pumping out [these] weird motion capture animated movies. Polar Express, Beowulf, Monster House and this. Granted some of those are pretty good but it was definitely an odd phase for Zemeckis. I guess the only thing I can really praise this movie for is Jim Carrey, his performance is really great. I don’t dislike this movie but at the same time I don’t love it. I still find myself coming back to it almost every year so there must be something about it that brings me back, but I just can’t figure it out. The last fifteen minutes were pretty good but, that’s pretty much all I have to say.” —🎥K🎃

15. The Polar Express (2004)

Average rating: 3.2

“The Polar Express has always been a favorite Christmas movie of mine and it still has that enchanting feeling all these years later. I will say that I never realized just how much of a theme park ride this movie is, constantly feeling like a glorified cutscene in a ’90s video game but I still find it fun. I hope you all have the most wonderful of days and get to spend it with people you love.” —Marshall 🎃

13. The Walk (2015)

Average rating: 3.3

“Pretty lovely, shot with such skill and belief in its old fashioned storytelling that is a shame it got such meh reviews. It pretty much is just a case of Holywood praising itself (and one can certainly get into a discussion about the more political aspects of what Zemeckis is doing), but as pure visceral filmmaking goes, there were no big budget films quite as effective and imaginative this year (at least in US).” —Filipe Furtado

12. Romancing the Stone (1984)

Average rating: 3.4

“One of those movies that will fly under the radar for most people, but is such a fun ride from beginning to end if you’re willing to give it the chance. Detractors will try to tell you that it’s cheesy and derivative and cliche and stuck in its time, but I will be the one to argue just the opposite. This is something special that despite some minor flaws, is as near a perfect romantic adventure-comedy as you can find. Honestly, I would go as far as to say that if it came out tomorrow, it would be praised as nostalgic and inspired by a time that for many was a golden era of the ever-evolving medium. Unfortunately for us, they just don’t make em’ like this anymore, and that my friends, is genuinely lamentable for us all…” —J. K.

11. Used Cars (1980)

Average rating: 3.4

“A hilarious farce dealing with crooked used car salesmen, corrupt politicians and the impact of high inflation on the average working class consumer in the late ’70s. Kurt Russell has great hair. Jack Warden steals the film with his duel roles. Toby the dog is my motherfucker. The movie is one laugh-out-loud gag after another. Plus, we have hilarious commercials, courtroom drama and a convoy like no other. Made at a time when government mistrust was at an all-time high; Used Cars might just strike a cord with today’s average viewer. Or, at least you will laugh your ass off.” —Todd Gaines

10. Flight (2012)

Average rating: 3.4

“I’m now retroactively furious Denzel didn’t get an Oscar for this. It’s an amazing portrayal of addiction and Denzel is such a charismatic performer that, as the audience, you’re in the same position as those in the movie trying to help him. The conclusion is inevitable, but it’s hard to not hope and maybe believe at times that he can turn the corner, and then feeling the disappointment when he cannot. As a massive fan, he’s almost too effective to the point where I’d be honored to be flown by loaded Whip Whittaker. The opening 20 minutes feature maybe the best scene on a plane I’ve ever seen. The movie is about the following 118 minutes but the opening sequence is spectacular and worth a watch in and of itself.” —FreeJanetYellen

“What makes this so satisfying as a finale is that it’s all about Marty McFly (Michael J. Fox) and Doc Brown (Christopher Lloyd). Their only mission this time around is to save their own asses and they both end up having small character arcs. Doc spent most of the last film being Marty’s chauffeur from future, present and past. For the final installment Doc ends up with just as much screen time as Marty and gets some great character moments. It doesn’t come close to capturing the magic of the first film, but it’s a very satisfying farewell to these two beloved characters.” —🦇 Count DuLacula 🦇

8. I Wanna Hold Your Hand (1978)

Average rating: 3.6

“I Wanna Hold Your Hand isn’t so much about The Beatles as it is about the infectious and pure energy of young girls, and it embraces its theme with a fervor. It’s nice to see a movie that portrays the enthusiasm of young women without criticism or judgment, and even promotes their excitement. It’s about embracing being young and being able to get excited about things without cynicism, plus there’s a really cute romance about a greaser and his unrequited love for the Beatles-hating, Joan Baez-loving member of the group.” —phoebe 💫

7. Death Becomes Her (1992)

Average rating: 3.7

“Death Becomes Her is for queer people only. Sorry, I don’t make the rules, it’s just true! By viewing Helen and Madeline as heroes (despite their flaws), as powerful women fueled by their beauty and ambition, the film is a wicked treat. Refusing to disappear or fade away in a society that loves to beat women down into patriarchally set beauty standards until the next young thing comes along is unbelievably feminist. Deliriously unreal visuals and quippy retorts keeps the camp turned up to a ten from start to finish. Albeit unintentional, the film explores quite a few ideas that play a significant part in queer existence, so it’s no wonder that it has been adopted into the Queer Film Hall of Fame. Just an all around joy of a film.” —claira curtis

6. (1997)

Average rating: 3.8

“The mystery and discovery in this movie are incredible. The philosophical framework it creates is mind-stimulating, and its journey into the cosmic unknown is an emotional exploration. We do not control the pace of the world, and neither does anyone else. Our mind is a network, a space that constantly needs exploration until the end of life. Whether you believe in God, in the void, or simply in life itself, the film says that we choose our own destination, our fate, and the way we explore our own world. What is the meaning of life? It has no meaning, because it has no end. Its purpose is to explore, to connect with ourselves, with each other, and with the world we see through our own eyes. I love this movie, even though it is not perfect as a whole, but the way it makes me think is wonderful, and I enjoy it to the fullest, all the way to its ending.” —wersku

“While the gimmick of Hanks’ physical transformation, losing weight and gaining naturalistic experiences on the island, is impressive, Zemeckis consistently takes the time to meditate on the things happening under the surface. What happens behind the eyes of the protagonist has as much dramatic weight as anything happening to his physical form. Zemeckis captures the heroic struggle of one human being versus the enormity of existence and nature with spirit, spectacle, and notes of subtlety in Cast Away. The director varies his focus from the epic to the personal with the assistance of an excellent leading man, an effectively imagined canvas, and an age-old tale. The results provide a riveting experience.” —Travis Lytle

4. Back to the Future Part II (1989)

Average rating: 3.9

“That first time watching this middle part of Robert Zemeckis’s trilogy is a dizzying experience of narrative back and forths, lefts and rights, zigs and zags, but where the first film's seamless transition between setups and payoffs fade away, this one takes over with the sheer hubris of making you feel as though you shouldn't be able to keep up with the screenplay hijinks it heaps upon you at each and every turn. The beauty of this one lies in repeat viewings that provide such ample rewards in the details of what Zemeckis and company are doing in not only telling the second part of their story but how they are following the first and subtly setting up the final piece of it.” —🔪 Leighton Trent 🩸

3. Who Framed Roger Rabbit (1988)

Average rating: 4.0

“Hollywood has been chasing the creative success, gonzo energy, delightful humor, and bravado of this film for decades now on multiple levels. Hang it up. Kathleen Turner’s voice work and the animator’s that brought Jessica Rabbit to life are the MVP. Not a detail out of place. Not a wasted moment. A high point of the Hollywood form.” —Angelica Jade Bastién🪼🩵

2. Forrest Gump (1994)

Average rating: 4.1

“When Forrest sees his son and starts crying and says ‘Is he smart?’ or when he says ‘I may not be a smart man, but I know what love is’ or ‘I GOTTA FIND BUBBA’ and when Lieutenant Dan does that backstroke in the sunset or when he says ‘Maybe it’s both’ or when he teaches Elvis to dance or when Dan shows up to his wedding or when the lady at the bus stop likes his story or when he runs from ocean to ocean or when…” —SARAH⭐️🦕