Showing posts with label sev ohanian. Show all posts
Showing posts with label sev ohanian. Show all posts

Thursday, 4 May 2023

Missing (2023)

Another film in the “screen life” format (you watch events unfold, for the most part, on a computer screen), Missing is from the people who brought you Searching. If you liked that film then you should like this. It isn’t quite as good as that film, and I think the gimmick will be harder to maintain for any future thrillers, but it’s enjoyable enough.

Storm Reid plays June, a young woman rolling her eyes as her mother (Nia Long) gets read to go on holiday with her new boyfriend (Ken Leung). June just wants to enjoy her time at home alone, and maybe a big party or two, but she starts to immediately worry when the pair don’t return for the pre-determined time when June is scheduled to pick them up from the airport. Making calls and starting her own investigation, June is able to connect with Javi (Joaquim de Almeida), an oddjob worker who lives in the country where her mother was last seen alive, and her own investigation seems to progress faster than the official police investigation.

With Sev Ohanian and Aneesh Chaganty credited with the story for this one (after both writing the script for Searching together), which was directed by Chaganty, it’s up to Nick Johnson and Will Merrick to co-direct their co-written script in a way that doesn’t completely drop the ball. While constrained by the format, they fudge things slightly to keep everything moving along in the narrative without transforming into another type of film entirely. I don’t think they’re entirely successful though. It’s been a few years now since I saw Searching (when it was released in cinemas), but I remember that, for better or worse, feeling as if it was able to adhere a bit more rigidly to the format. 

The plus point is the plotting though, with a number of enjoyable twists and turns that will have viewers reconsidering their opinion a number of times on how events may have unfolded. A number of details are nicely sprinkled throughout every scene, and there are only a few moments that will have you exasperated by something obvious overlooked by the main character.

Reid is very good in the role of June, doing well in a tough role that requires her to be onscreen for the vast majority of the runtime, even if she is just clicking through and observing various video clips. Long and Leung are both fine, and obviously not onscreen for too long, but it’s Almeida who you will remember once the film is over. His character is a ray of sunshine, and he actually gets a decent little narrative arc of his own, even as he helps to progress the main plot and help our desperate lead. Although not as sunshiney, the same applies to a character played by Amy Landecker, who may or may not be involved in the disappearance of June’s mother. There’s also a small role for Tim Griffin, playing June’s father, and his scene at the very start of the film helps to show the impact he had on the lives of his wife and daughter.

Perhaps a film that will inevitably work better when watched on your own computer, compared to a cinema screen, Missing is a decent little thriller that will work for those who can accept the genre trappings being dressed up with modern tech and tech-savviness.

6/10

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Sunday, 11 April 2021

Netflix And Chill: Run (2021)

The team behind the popular thriller, Searching (Aneesh Chaganty and Sev Ohanian), are back with another well-tuned thriller to show that their previous film wasn't just a fluke. They know how to take a solid premise and turn the screw with every scene to ratchet up the tension as they drag viewers to a knuckle-whitening finale.

Essentially a two-hander for a lot of the runtime, Run is all about Diane Sherman (Sarah Paulson) and her daughter, Chloe (Kiera Allen). Having looked after Chloe for her entire life, Diane may need to adjust to life alone if Chloe gains admission to the college of her choice. But there hasn't been any post confirming this, and Chloe starts to wonder if her mother is trying to hide something from her. And does it involve more than just a letter from a college? Having been wheelchair-bound for most of her life, as well as having asthma and a number of other illnesses, Chloe needs to use every ounce of her strength and intelligence to try and figure out just what is going on.

It's hard to discuss Run without inadvertently giving anything away, so I won't. Well, okay, I kind of have to, but I'm going to be deliberately more vague than usual.

First off, and the easiest thing to say, Paulson and Allen are both superb in their lead roles. As familiar with Paulson as I am, this is easily one of her best performances, even when she gets to act a bit more over the top in the second half of the film. It's a nice escalation, and Paulson gives her character a complete self-belief in her actions and motivations. Allen plays almost every one of her scenes with a strength and grit that makes her journey mesmerising. Elsewhere, Pat Healy pops up to play "Mailman Tom", Sharon Bajer is a woman working in a local pharmacy (who may or may not know why Chloe has started to be prescribed some new pills), and Sara Sohn is a nurse who might end up noticing something that helps save a life.

The script, co-written by director Chaganty and Ohanian, is largely put together with enough realism and logic to allow you not to question things too much as things start to get more and more out of control. There are some major flaws, including one inexplicable moment that is only there to add a reveal and some further exposition, but the big main sequences of thrills and tension make it very easy to leave any questions you may have set aside until the end credits have rolled.

Without the restrictions of the main gimmick they were using in Searching, Chaganty and Ohanian do even better work here, digging down further into levels of darkness and twisted behaviour that help a number of key scenes in the film really pack a punch. It's slick, may make you wince in pain a couple of times, and boosted by two fantastic lead performances. A near-perfect thriller.

8/10

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