Searching

The word "gimmick" can be thrown around to describe a major element of a film that changes up the ordinary tropes we'd expect from a rather straightforward flick. There is 3D, timeline splicing, animation, found footage, you name it. Some films almost even fall into these places as a genre. When they do, you get the inkling that the people responsible for thinking up the movie likely have these elements in mind at the forefront with the story as an afterthought. Only when that occurs do I call those elements gimmicky. And it's not that a gimmick is a bad thing, but if that is what you rely on to make your story compelling, it will often become a crutch for poor storytelling or one-and-done enjoyment. Sometimes it is done right, in which case the gimmick works... but most of the time it has that negative connotation for good reason.

However, there is another breed of films where you can get that feeling that a story was thought up, and ultimately it was decided that the best way to tell that story was by use of something like 3D, etc. When that happens, it is no longer a gimmick nor does it fall into that genre, so to speak. It is just the best way to tell that story, even though the story could work very well without it. I am no longer attracted to the film because of the device being used, but rather I can almost ignore that it's happening because I am so engraved in the story being told.

Within the found footage narrative realm has come screencasting, where we see the world through somebody's computer or phone screen. The first and only film of this variety I have seen was Unfriended, which takes place on one user's laptop screen as she does a group webcam chat. This played off as a gimmick because it was the only way to tell the story. Searching is now the second screencasting film I have seen. It has a bit of a hybrid feel though because there are jumps to other footage needed to tell the story (perhaps from the news or something) and there is also a score that the characters otherwise wouldn't hear.

Gimmick is also the last term I would use to describe what it does. Of course, this is plainly because the story is what drives the film and could be done without this style, but also because this style is doing more than tell a story: it is telling of our generation's attachments to/reliance on technology, the internet and most of all social media. The right audience will connect with this very well because they will feel very comfortable and familiar. This is where the film gets to breathe and even provide what one could call comedic relief (in just how real it all is to our technological experiences).

Director and co-writer Aneesh Chaganty came up with something extraordinary, and very smartly crafted this film into something where the main character's (played by John Cho) computer and phone are not devices (no pun intended), but they are now characters. There is an inaudible dialogue between him and screen, and the audience fills the gaps of what each of them are saying to each other. I say the story could be told without the screencasting in play, but the audience would need another way of being exposed information through needless dialogue, either to oneself or other characters. That, or we would still be looking at computer screens for a very long time, or time would have to be served filling scenes in other ways, so restructuring the screenplay would be required (which is possible, but I think Chaganty found the best way to tell his story).

I am still on a high with this film, to the point where I temporarily feel comfortable saying this is my favorite film of the year so far. The trailer that I just watched on this film after the fact would lend you to believe that it is a suspense/thriller, and even though it is suspenseful and thrilling I would not identify it as that. I would call it more of a drama/mystery. I think the first ten minutes of the film easily define what the entirety of the film will play out to be with regards to what emotions it will tap into you, and the opener of this film is one of my favorites in a long time. Thinking back on it, it's probably what really seals what I really think about Searching as a whole, and puts your mind at ease for the screencasting style that Chaganty tells the story with.

This film is about a father whose high school daughter turns up missing, and he cooperates with the police in doing his own personal detective work through means of his electronic devices to help aid their investigation. Thinking back at some of the missing persons films I have seen in my days (Gone Girl, Prisoners, Taken, Man on Fire, Gone Baby Gone, The Girl with the Dragon Tattoo, Flightplan, Ransom), these stories have ranged from: straightforward to conspiracy-laden, kidnappings to runaways, found alive to found deceased to never found at all... and Searching gives you reason to believe that any of these possibilities could be true, all within staying very real. I think that's what makes this movie work most, that by the end of the day you convince yourself that you felt you saw something extremely grounded and strangely relatable. I mentioned the technology/internet/social media aspects, but the characters also relate well, and because it takes place in the Bay Area it also gives more bonus points for someone like me because I have an extra connection with the locations that are mentioned or utilized. It's best that you try and not decide for yourself what kind of film or outcome you hope to see going into it, and instead commend the shrewd genius in weaving the pieces together in a very levelheaded manner.

Absolutely none of this works without the sturdy acting by John Cho. You clearly see the image of a wrecked and broken father attempting to find his daughter. He has a compelling way of making us feel his his hurt and desperation. Chaganty once again used the screencasting element well here in having his character's on-screen actions say so much as well, from his mouse gestures to the things he starts to type but deletes before sending to other people, etc. The audience will not have to work too hard with these facets because of competent directing and brilliant acting.

What I suggest you do work really hard at while watching, however, is what I would call the Easter eggs this film has. When a screen pops up with a bunch of e-mails, news articles, or chat conversations, you want to pick up everything that you can because you won't be able to pause and rewind in theater. But furthermore and most importantly, every revelation of this film can be grasped if you work and look hard enough at everything that Cho's character works and looks at. This is a good thing, and what makes it even better is this film is never predictable (mostly because you know as much as the protag does, because you are literally seeing the film through his eyes). You get to stay on the edge of your seat through this process, even if nothing is really going on, because you feel like you get to take everything in at the same time that he does. There is a lot to process here, and again it is all in such a very real way.

This one is such a good time at the theater, and I think the only people who will be disappointed in this flick is if they: find the screencasting to be too much of a gimmick for their taste, feel misled by the trailer's overly suspenseful tone, or they already have one or two predetermined outcomes in mind that they want to happen and it doesn't suit their liking. Comparatively, my biggest gripes in this film stem from things like characters typing messages lightning-fast and perfectly (and people responding faster than they would even be able to read the message sent to them), plus off-screen voice acting was very wooden. That's pretty much it. As it stands tonight though, it is my favorite film I have seen this year. I don't want to call it groundbreaking what Chaganty did as far as influence goes (I don't expect many of these films to suddenly churn out as a result), but as far as accomplishing intent in a unique manner I think he did what no one else has before, and it works far too well for the story he told.

For those who are curious, this film is not yet rated but I can easily say the MPAA will give this a PG-13.

I just got out of seeing Searching, a "screen life" movie written and directed by Aneesh Chaganty, and I can't overstate how much I enjoyed it. Why I liked this movie can be summed up quite succinctly with four simple words: compelling story, engaging presentation. Allow me to elaborate.This movie has an incredibly well written story. It starts with a heartfelt sequence of home movies that endears you to all of our main characters in minutes, quite similar to the beginning of Up (2009). It then unfolds a mystery, layer by layer, until you are quite literally on the edge of your seat, in anticipation for the final reveal. At no point along the way does it ever really slow down or get dull. Everything that happens is meaningful and contributes to either the narrative or the tone. A big part of the story working so well has to do with the excellent performance from John Cho. The entire premise of the story hinges upon his performance as he is the emotional core of it all. Without him, this movie might not be nearly as good. In addition to having a tight, well-written screenplay, Searching also is presented in an incredibly fascinating way. Chaganty uses the restrictions of "screen life" to his favor by creating inventive and new ways to present information. In doing so, he truly draws the viewer into the perspective of John Cho's character as everything is essentially shown from his point of view. This heightens both the tension as we learn things at the same time he does, as well as makes his character that much more empathetic. 2018 has had a pretty stellar summer in terms of the quality of movies that we've seen, and Searching thankfully doesn't break the trend. It wouldn't surprise me if this becomes the sleeper hit of the summer. It's quite good. Do yourself a favor and go see it!

A story told entirely through a character's laptop screen - it's an increasingly popular gimmick that's now been done enough times that it can no longer be called fresh. But, thankfully, this is best execution of the style to date. Aneesh Chaganty dazzles in his directorial debut, displaying a mastery of the medium, crafting a compelling film narrative told entirely through someone's laptop activity.

The movie comes out hot with a mostly nonverbal tale of love and family that's shades of 'Up' and nearly as affecting. An emotionally warping scene like that to kick things off lets us know immediately that we're in good hands. The music choices give a strong signal of this as well. I firmly believe that music choices in the opening minutes of movies are as reliable an indicator of the movie's quality as you'll find.

This moving love story tells that us the family is close, or, at least they were before mom died. Now dad David (John Cho) is raising his daughter Margot (Michelle La) as well he can, but they seem a bit distant. When Margot mysteriously goes missing, he finds out just how little he knows about his daughter.

He and police detective Rosemary Vick (Debra Messing) scramble to find out what happened to Margot - was she kidnapped, catfished, or did she runaway? The work they put in to unravel this mystery is frantic and exhausting. They track Margot's car on traffic cams, they contact all of her Facebook friends, and they dig for anything of use they can find on her laptop. The level of detail displayed in the investigation is so thorough that it's as much an education in snooping as it is entertainment (not that parents should follow these steps to snoop on their own kids!)

It's a constant thrill ride throughout, even as conventional storytelling techniques seep through the cracks at the end when the laptop screen gimmick proves too challenging. One answered question leads to five more unanswered, and a few false endings and twists will leave you breathless. In movies, there are twists and then there are TWISTS. "Searching" has TWISTS. Enjoy.

This film got it right in the technology department. All real websites, technology and actual examples of how you can search the internet to find information. They had to get this right and as an avid tech enthusiastic i was pleased that they did.

The storyline was well written, had twists and turns that i did not expect. Decent movie!

For all the people who ever tried (And failed) to make a compelling thriller about the internet, from "Unfriended" to "Megan Is Missing", I have news for you:

Someone finally did it.

"Searching" is quite possibly the first film I've seen that truly treats the internet as the entity it is without any silly exaggerations, fake websites, ignorance or judgement. Instead, this film treats it as a platform to tell a compelling mystery story with an excellent performance by John Cho and a quite honestly revolutionary sense of direction at its center.

"Searching" concerns itself primarily with the character of David Kim, played by John Cho (Of 'Harold & Kumar' fame), who's daughter goes missing suddenly and is only left with a trail of breadcrumbs that exist entirely on the internet. Whether it be social media, text logs or anything in-between, the film becomes a frantic search to find his missing daughter.

The film itself is an odd hybrid of the Found Footage genre and of an actual narrative film. What I mean by this is that we still see close ups, we still hear a musical score, and still see various camera tricks incorporated into the film, but our vantage point is limited only to a screen and what may appear on it. Because of this, the direction expertly resorts to showing many forms of multi-media to paint a story that a feature film could tell. From the film's wide-spanning opening (Which is oddly reminiscent of Pixar's "Up" in more ways than one) to every direction it goes beyond that, the film stays in its proverbial lane and uses its media and its story platform to tell a compelling story within its mean.

This execution, by first-time director Aneesh Chaganty, is done BRILLIANTLY. There is not a single moment where you do not buy what is occurring on-screen when it comes to the way these sites and media function (Aside from a few hiccups that I will get into later), and it truly shows an understanding of both the limits of this scope and of the media they used to tell this story. Crazy as it sounds, it is an incredible accomplishment seen here by Chaganty that the film remained comprehensible, well-directed, and ended up as the first film of its genre to ever incorporate social media properly.

Speaking of which, it is a delight that we do not get any fake websites in this film. What I mean by this is, there is no "sub-in" for Youtube or Facebook or anything of that like. Facebook is Facebook, Youtube is Youtube, Tumblr is Tumblr, etc etc. It is both a treat to those who look for authenticity in this concept that not only did the crew know what they were talking about, but also to see that they trusted audience to expect realism and no substitute. Fake social media sites in film is out, and incorporating the quite real social media sites around us is IN..and I couldn't be happier.

This could perhaps be enough for a downright experimental film to be considered serviceable, but what truly elevates this even further is John Cho's fantastic performance as a father at his wit's end fighting to find his daughter. Though we only get small bursts of the clear talent and commitment he has for this role, by the time the film was over even his own mouse cursor and movements depicted by his searching through the internet had its own injected 'character' to it.

Despite how well the film is executed, a few flaws do hold it back from being a masterpiece by a first-time director. The climax of the film and the conclusion we reach to the mystery itself is a bit fantastical and hard-to-buy for my tastes, though it hardly ruins the entire film structurally. In addition, Michelle La as the daughter character is not especially good in the scenes she is featured in, which was perhaps why the only scenes I never felt entirely invested were the ones where she was front-and-center. Considering this is her first feature film role, that's perhaps simply inexperience coming to the fore, but it still hurts the film when her scenes are sandwich between a fantastic performance by John Cho.

Along with these problems with story and performances, the minuscule details between the lines of the film's internet setting are a tad fuzzy. Namely things regarding the service YouChat and how it is presented, along with the tiniest nitpicks in presentation like the mouse cursor moving so buttery-smoothly it became hard to buy. In addition, my feelings toward the film having a background score are a tad mixed, though I grew to accept it as the film went on. Simply a matter of tastes.

All of that said, "Searching" is a quite masterfully done thriller with an execution that is truly a marvel to behold. Never has this genre of found footage been able to crack the concept of painting a thrilling film through the scope of a computer screen until now. With the internet seemingly 'cracked' by these writers and directors, however, this film ends up a first of its kind and quite the investing ride to take at the theatre.

I highly recommend you see this film and support something so indie and so unique. It's really unlike anything that's in theatres right now~