Showing posts with label will merrick. Show all posts
Showing posts with label will merrick. 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, 23 October 2022

Netflix And Chill: A Classic Horror Story (2021)

If the title doesn't clue you in immediately, the opening act, with a number of references to other movies and a number of very familiar tropes playing out (the group travelling through some quiet countryside, a vehicular mishap, ominous signs of dangerous entities in the area, etc), should let you know that you're about to be taken through territory that has been used in hundreds, if not thousands, of horror movies throughout the past few decades.

The core group is made up of Elisa (Matilda Anna Ingrid Lutz), Fabrizio (Francesco Russo), Riccardo (Peppino Mazzotta), Mark (Will Merrick), and Sofia (Yuliia Sobol). These people aren't close friends. They are just making use of a rideshare app, although they bond quickly enough when an accident leaves them stranded in the middle of some woods, and leaves Mark with a broken leg. Before you can say "Wrong Turn", things start to look very odd. And dangerous.

Directed by Robert De Feo and Paolo Strippoli, who both also worked on the screenplay with Lucio Besana, this is a strange, and at times quite brave, approach to horror movies. It's a commentary on our relationship with the visceral thrills of the horror genre, a spiky warning about the need for more and more content, and it does all this with horror movie tropes that aren't exactly subverted, but are simply used in a way that will have viewers wondering just how stupid the central characters might be until the third act starts to turn things over to show everything in a slightly different light. De Feo and Besana worked together on The Nest (which I have yet to see), but the heart of this work may come from Strippoli (considering his previous short was apparently shot entirely through Instagram stories). The finale of A Classic Horror Story may not feel like a good enough reward to horror fans who may tire of the excessive amount of genre trappings throughout the first hour, but it is at least able to deliver some gory goods alongside the kind of damning reflection that was inherent in darker films like Man Bites Dog and Funny Games.

The cast all do well. Lutz and Russo seem to get the most screentime, and the former gets to play a character introduced having a difficult enough time of things already, but everyone goes along with what is asked of them, even if that means they only stand out when involved in a gory death scene. There's also a good performance from Alida Baldari Calabria, playing the typical frightened child that, much like everything here, we've seen many times before, the innocent victim discovered by our leads, who may or may not be exactly as she appears.

I ended up enjoying this, but I must admit that the first half was testing my patience slightly. It was only the knowledge that the film-makers may be making viewers comfortable before pulling the rug out that kept me from completely checking out. Not that anything here was bad. The score is decent, the practical effects are impressive, and sometimes impressively nasty, and the last minute or so, although completely unnecessary, underlines everything being said with humour and sledgehammer-subtlety.

6/10

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