Searching (2018) Review
12:18 PM
He just missed his daughter's final call.
This review contains spoilers.
This review contains spoilers.
Aneesh Chaganty's Searching is one of the year's most visually inventive and uniquely thrilling films. Timur Bekmambetov's 'Screenlife' software has appeared on the big screen already this year in Unfriended: Dark Web. However, Searching showcases the versatility of 'Screenlife'; it can be used for a cracking horror concept as well as a for a tense thriller. In fact, Searching probably demonstrates the best use of 'Screenlife' yet, going beyond the limits of a Skype call. Impressively, for a film with this many unexpected twists, there are no answers left to search for by the time the credits roll. Chaganty's Searching is not only a great demonstration of 'Screenlife', it is also a sophisticated and well-written thriller with surprises around every corner.
Searching explores the relationships between parents and their children. This has been a common theme recently: A Quiet Place and Tully are examples of films that include parental relationships as a subcontext. With both David (Cho) and Margot (La) and Detective Vick (Messing) and her son, Searching parallels two different parent/child relationships; David is a protective, widowed father while Vick will do anything for her son. While the parental relationships differ, both signify that protection is a parent's grail. Chaganty and Ohanian's Searching is more than just its 'Screenlife' gimmick, they have accompanied the technological style with a great script that delves deeper into issues and topics beyond the film's plot; Searching isn't just about a man whose daughter mysteriously disappears, it exhibits how far a parent is willing to go for their child.
Changanty and Ohanian have cleverly written the script so that it gradually teases the audience with new character developments as the story unfolds. A heart-warming, sentimental and emotional opening sequence establishes the Kim family; from its score to its editing to its content, this sequence is special. However, the audience is given little sense of what teen Margot is like before she goes missing. This made her disappearance all the more mysterious. As the plot unravels, secrets are revealed. Margot has no friends; Margot hasn't been attending her piano lessons; Margot left her study session at 9pm and did not stay over; Margot has been visiting her uncle (David's brother) to smoke weed. With every secret that is revealed, the more the audience questions and doubts what actually happened to Margot. This also shows that even the most protective of parents may no little about their child's life. Although she has clearly been deceitful, Margot never becomes unlikable. Searching is cunning and smart. It positions the audience as Margot's father; David still sees the sweet and loveable daughter that was portrayed in the opening montage (Margot's only character development), not the truanting, weed-smoking and lonely person she has become.
Timur Bekmambetov's 'Screenlife' software gives Searching a distinct identity. If this story had been told following the conventions of a regular film, Searching would have likely been swallowed by its competitors, meaning a great film would have been criminally overlooked. When looking up the synonyms for the word 'Searching', words like penetrating, piercing, sharp, thorough, analytic and in-depth all crop up. Ironically, these are all words that describe Searching. There's something unique about films that use 'Screenlife', they are allowed to unapologetically rely on exposition. Instead of conversations between characters, it can be a news article, a live stream or a TV broadcast that progresses the narrative. Searching uses countless sources to tell its story. David logs into the family's old Windows PC (nostalgia vibes) as well as Margot's modern Macbook. He finds out about Margot through social media, her text messages and her live stream channel. Searching never feels like a gimmicky film; the use of digital technology feels like it has been instinctively interwoven with this story. Aneesh Chaganty has realised the potential of Screenlife more than any director has previously. Searching remains sophisticated and high-brow despite being in the same vein as the trashy Unfriended films.
Searching is packed with tension. From the moment Margot disappears (which is early-on) a sense of mystery erupts and slowly builds until it reaches its climax. Two people did walk out of the film during my screening as it entered the second act; it doesn't move at a tediously slow pace but I can understand why some may become bored. Searching's climax does not disappoint. The twist/reveal is something that crossed my mind, but I dismissed it because I thought there was no way the writers could possibly pull it off. Chaganty and Ohanian proved me wrong. In fact, the twist is blindly revealed to the audience very early on. It is revealed that Detective Vick volunteered to lead the case because it was her son who triggered Margot's disappearance. The explanation is impeccable. From 'fish n chips' the red herring (this is probably the first and last time I've heard an audience gasp about fish and chips) to Vick's past with ex-convicts, it all made sense! Changanty and Ohanian have written a story with a twist so far-fetched that its reveal (and execution) left me speechless.
Searching is grounded by a tremendous performance from John Cho. With a scarce supporting cast, Cho is required to deliver a compelling performance, and he certainly does just that. Cho's David expresses worry, anger, fear, confusion and sadness throughout the film and his performance has the nuance to convey all of these. Cho's casting as essentially the film's only fleshed out character is progressive for Asian representation. Debra Messing is Cho's sole support. Messing also demonstrates a lot of nuance with her performance. I especially liked how Messing's performance only subtly changes when her evil actions are revealed. Messing could have easily transformed into an animated villainess, but instead remains as an altered version of herself. Cho and Messing deliver the only performances that matter; thankfully, they both impress.
Searching is visually unique, pushing past the boundaries that the Unfriended series has set for the Screenlife software; Aneesh Chaganty fulfils its potential. Aside from being stylish, Searching is a well-written and surprising thriller. The smaller twists and turns cleverly reveal new details about Margot, adding to the mystery. The biggest twist is excellently executed, leaving no answers to search for. John Cho's strong performance is compelling for the entire 100-minute run-time. As a stylish, timely and entertaining thriller, Searching triumphs.
Searching explores the relationships between parents and their children. This has been a common theme recently: A Quiet Place and Tully are examples of films that include parental relationships as a subcontext. With both David (Cho) and Margot (La) and Detective Vick (Messing) and her son, Searching parallels two different parent/child relationships; David is a protective, widowed father while Vick will do anything for her son. While the parental relationships differ, both signify that protection is a parent's grail. Chaganty and Ohanian's Searching is more than just its 'Screenlife' gimmick, they have accompanied the technological style with a great script that delves deeper into issues and topics beyond the film's plot; Searching isn't just about a man whose daughter mysteriously disappears, it exhibits how far a parent is willing to go for their child.
Changanty and Ohanian have cleverly written the script so that it gradually teases the audience with new character developments as the story unfolds. A heart-warming, sentimental and emotional opening sequence establishes the Kim family; from its score to its editing to its content, this sequence is special. However, the audience is given little sense of what teen Margot is like before she goes missing. This made her disappearance all the more mysterious. As the plot unravels, secrets are revealed. Margot has no friends; Margot hasn't been attending her piano lessons; Margot left her study session at 9pm and did not stay over; Margot has been visiting her uncle (David's brother) to smoke weed. With every secret that is revealed, the more the audience questions and doubts what actually happened to Margot. This also shows that even the most protective of parents may no little about their child's life. Although she has clearly been deceitful, Margot never becomes unlikable. Searching is cunning and smart. It positions the audience as Margot's father; David still sees the sweet and loveable daughter that was portrayed in the opening montage (Margot's only character development), not the truanting, weed-smoking and lonely person she has become.
Timur Bekmambetov's 'Screenlife' software gives Searching a distinct identity. If this story had been told following the conventions of a regular film, Searching would have likely been swallowed by its competitors, meaning a great film would have been criminally overlooked. When looking up the synonyms for the word 'Searching', words like penetrating, piercing, sharp, thorough, analytic and in-depth all crop up. Ironically, these are all words that describe Searching. There's something unique about films that use 'Screenlife', they are allowed to unapologetically rely on exposition. Instead of conversations between characters, it can be a news article, a live stream or a TV broadcast that progresses the narrative. Searching uses countless sources to tell its story. David logs into the family's old Windows PC (nostalgia vibes) as well as Margot's modern Macbook. He finds out about Margot through social media, her text messages and her live stream channel. Searching never feels like a gimmicky film; the use of digital technology feels like it has been instinctively interwoven with this story. Aneesh Chaganty has realised the potential of Screenlife more than any director has previously. Searching remains sophisticated and high-brow despite being in the same vein as the trashy Unfriended films.
Searching is packed with tension. From the moment Margot disappears (which is early-on) a sense of mystery erupts and slowly builds until it reaches its climax. Two people did walk out of the film during my screening as it entered the second act; it doesn't move at a tediously slow pace but I can understand why some may become bored. Searching's climax does not disappoint. The twist/reveal is something that crossed my mind, but I dismissed it because I thought there was no way the writers could possibly pull it off. Chaganty and Ohanian proved me wrong. In fact, the twist is blindly revealed to the audience very early on. It is revealed that Detective Vick volunteered to lead the case because it was her son who triggered Margot's disappearance. The explanation is impeccable. From 'fish n chips' the red herring (this is probably the first and last time I've heard an audience gasp about fish and chips) to Vick's past with ex-convicts, it all made sense! Changanty and Ohanian have written a story with a twist so far-fetched that its reveal (and execution) left me speechless.
Searching is grounded by a tremendous performance from John Cho. With a scarce supporting cast, Cho is required to deliver a compelling performance, and he certainly does just that. Cho's David expresses worry, anger, fear, confusion and sadness throughout the film and his performance has the nuance to convey all of these. Cho's casting as essentially the film's only fleshed out character is progressive for Asian representation. Debra Messing is Cho's sole support. Messing also demonstrates a lot of nuance with her performance. I especially liked how Messing's performance only subtly changes when her evil actions are revealed. Messing could have easily transformed into an animated villainess, but instead remains as an altered version of herself. Cho and Messing deliver the only performances that matter; thankfully, they both impress.
Searching is visually unique, pushing past the boundaries that the Unfriended series has set for the Screenlife software; Aneesh Chaganty fulfils its potential. Aside from being stylish, Searching is a well-written and surprising thriller. The smaller twists and turns cleverly reveal new details about Margot, adding to the mystery. The biggest twist is excellently executed, leaving no answers to search for. John Cho's strong performance is compelling for the entire 100-minute run-time. As a stylish, timely and entertaining thriller, Searching triumphs.
75
/100
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