It would seem that were one to gaze into the future of sci-fi filmmaking, society will never see an end to the concept of UFOs as a plot device, with “They’re Here” the latest, but far from greatest, contender for the spot of genre-defining piece presumably meant to spark a conversation about whether or not we remain alone in the vastness of space. While this particular outing may indeed be rich in onscreen conversation regarding the possibility of interstellar visitors between whoever might be occupying the film at any given moment, it’s far from eye-opening and, it would seem, purposely aimless.
Make no mistake; this is a simple, plotless film focusing on a small handful of average Americans, all of whom believe they’ve encountered something they can’t explain, be it unidentified aerial phenomena or an abduction experience ripped right from discarded pages of Whitley Strieber’s “Communion. “The film dances between stories from those who’ve been through something extraordinary, grainy video of what could very well be a mylar balloon (spoiler: it likely is), as well as an advocate group known as MUFON set up to assist in investigating similar claims, and even a couple dedicated to presenting copious amounts of statistical data to whoever might listen. A street festival centered around this community appears in the film’s second half, where UFO-themed custom board games are hawked, and stories are exchanged, while a nearby stage allows for mediocre stand-up routines and the like. If it all sounds adrift, that’s precisely because it is.
There’s no question there exist scores of individuals clinging to the belief that something exists beyond the stars. They have the experience to prove it, though as meandering as “They’re Here” tends to be, there’s always a moment or two focusing on the doubters, even if it’s the claimant themselves questioning whether or not what happened to them actually did. One such individual can even be seen attempting hypnosis to hopefully get to the root of his own personal event, expressing frustration when the procedure fails but also shortly after revealing some early-life misery. It’s a pseudo-therapy session and one of the few significant moments in a film packed with just as many throwaways. To make matters worse, the final minutes take a hard pivot into scripted territory, complete with visual effects, a jarring choice that makes one doubt exactly what sort of film this was.
You can’t manufacture authenticity, but in capturing their subjects in such a raw state, directors Pacho Velez and Daniel Claridge have inadvertently crafted a dull slog through a subject told elsewhere in a much better fashion, whether through any number of now-classic “Unsolved Mysteries” episodes or similar documentaries occupying the far corners of Netflix or YouTube. There’s nothing here to change the perception of the nonbelievers, nothing new to reveal to those in opposition, nor anything to comprise a film worth taking in more than once. As a film akin to someone wandering about a field of scattershot UFO lore, it’s a success, and there’s nothing more to say than that. [C-]
