[Written for Film.com]
Many of Robert Zemeckis’s films derive their energy from a technical challenge: how to combine real people with cartoons (Who Framed Roger Rabbit), how to reconfigure human bodies (Death Becomes Her), how to depict an alien world (Contact), how to make a fictional hero interact with news footage (Forrest Gump), how to put the same actor in the frame twice (Back to the Future Part II, an authentic piece of American weirdness and a movie that deserves better than to be lost in the middle of a popcorn trilogy).
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