Searching is a taught, well-developed thriller that has audiences on the edge of their seats.
Let the puns begin: Searching is not a movie you should “miss,” as it will “find” its way to the top of any “Best of 2018 Films” list. Written and directed by Aneesh Chaganty, the narrative is completely executed via social media interactions, various device screens, and news reports—yes, it’s a comment on the zeitgeist of our very electronics-obsessed world. However, the film completely steers clear of gimmick territory, and uses this unique style to reel in the audience and immerse them in the protagonist’s frenetic journey to find his daughter.
Searching is a story about every parent’s worst nightmare—a missing child. And if you don’t have any children, like me, don’t worry. The film provides you with that sympathy and empathy with an engrossing Up-style opening. Remember experiencing Carl Fredrickson’s long happy life with his significant other? By the end, we all felt like we were senior citizens who lost a spouse. Searching pulls the exact same formula—and it’s effective as all hell. By the end of the prologue, we all became doting parents to a teenage daughter and lost a loving wife.
John Cho—the American Pie franchise’s MILF guy—breaks into paternal territory and plays main protagonist David Kim. Cho’s acting chops are on full display as the audience watches him go from concerned to desperate. Cho’s subtle motions and stares are all that’s needed in this very visual movie. That’s not to say his line deliveries aren’t great. In films about parents on the edge, there’s always a risk of overacting. However, Cho’s emotions and gut-wrenching reactions are genuine.
The most original aspect of the story comes from the fact that it doesn’t try to be original. All the traditional screenplay beats and sign posts are hit—which illustrates how Blake Snyder’s Save the Cat template is ever so crucial for thrillers, especially ones where you have to care about the hero. David is the one driving the narrative, and it’s from that perspective we see things unfold. The evolution of his character—or degradation of his mental state—becomes that much more visceral from a face-to-face angle. Since the film has already set us up as parents, viewing David through a camera becomes our mirror. It’s as immersive as you can get without it becoming first-person.
Playing opposite Cho is Debra Messing in an equally compelling role. Again, this is another type of character that can be played so wrong. Law enforcement in films have been portrayed in very cliched characterizations—to the point where audiences will roll their eyes with “yep, I’ve seen this before.” However, Messing’s detective character is beyond believable. She uses her character to build a very trusting rapport with the audience, further pulling us into the narrative.
As mentioned earlier, the usage of technology is not a gimmick. In fact, it effectively delivers multiple themes: as connected as we are through technology, we’ve lost the ability to truly communicate; as revealing as we are online, everything is just a red herring as to who we truly are; and the power of information is not inherently evil, as it depends on who wields it. The film presents these philosophical debates without taking sides. It leaves it to us to “search” for the ethics (yep, there’s that dang pun again).
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If you’re looking for an unconventional thriller, Searching is your film. If you’re looking for some great character development, Searching is also your film. What you won’t “find” (there it is again) is a cliched mystery that leaves you unsatisfied and emotionally empty. The film is a rare gem in that it’s harrowing, heartbreaking, thrilling, and uplifting all in one package. It definitely upends the thriller-mystery formula, giving audiences a unique offering.
Searching had a limited release on August 24, 2018. It had a US release on August 31, 2018.
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