Searching is a film promoting a certain plotting device in this social media age of ours. An Up-like introduction played through old computer memories and hard drive data is surprisingly poignant. It provides the backstory for a parent-child relationship to play out, albeit with the mechanisms of a thriller.
The opportunity to see an Asian-American family front and center in a film like this is too much to pass up. Once more, after Columbus, John Cho proves — not surprisingly — he’s more than capable of anchoring a movie with a lot of intriguing potential.
Because this is a story of a father who thinks everything is normal — aside from his wife no longer being with them. So when his daughter doesn’t message him one evening and forgets to take out the trash, he shrugs it off as the usual. But the hours continue to tick away and still no response from Margo. He’s getting annoyed and finally very, very worried.
It reaches the point his daughter is pronounced missing, an investigator named Rosemary Vick comes on the case, and David starts seeing a side of his daughter he never knew existed — namely because in the aftermath of his wife’s death (her mother) — they have never found the time to talk about it.
Instead, like many good conservative families, all put together and everything, they keep on living life like nothing’s wrong while loneliness and different types of rancor take hold. It hits a fever pitch when his daughter Margot is simply not responding and none of her “friends” have seen her in a couple days.
A story about a disconnected father and daughter all of a sudden becomes fodder for our thriller with more heady implications. There are compelling aspects to this film beyond the taut pulses of tension stretched for all they’re worth. I won’t make any claim this is an Ozu-like examination of familial relationships — the palette is not nearly as meticulous — but it’s trying, even going so far as to tackle the aftermath of grief.
More so, Aneesh Chaganty’s movie is made for The Internet Age. We exist in a world full of “catfishing” on the internet. So much gets promoted, lied about, and falsified in this identity theft, fake news, self-promotion era that we now live in. Where we share our condolences and show our grief to gain likes and follows but it feels like there’s no true investment — no authentic concern for loved ones and others being affected.
All these elements could not be more pertinent than right now and Searching makes the point of reminding us how much of this technology has blown up during our very lifetime. In some regards, the course this story takes as far as computer advances and windows desktops are concerned are akin to my life.
There is a chill factor that has the titillating tinge of Gone Girl but unfortunately, it is not capable of paying off in the same bone-chilling manner. The final twist — because there most assuredly is one — feels too much like the conclusion to a movie trying to find the perfect bow to tie everything together. The logic is not quite right as it fits the clean contours of a screenplay more than reality and as a result, it does not feel nearly risky enough.
The underlying problem begins with the concept, because such a conceit as this, playing out over social media, video, and with the always dubious screens on screens approach, runs the risk of feeling like a gimmick. Searching does well to use its assets in the opening minutes, setting up this family and this life and dropping hints of things that don’t seem quite right.
However, it becomes a slave to its own storytelling devices which hinders the scenario instead of aiding in the resolution. Because it is never willing to break out of this perspective even once and resultingly, the narrative does feel quite limiting, even cold.
Surely, technology does this to us — we could easily make this argument — but for the sake of the story, it starts feeling stagnant and repetitive, verging into seemingly more unrealistic territory as time goes on. The gimmick becomes a weakness instead of a powerful tool for creating a world itself. Unfortunately, the film suffers, no fault of Cho who does a valiant job.
Even with technology being so prevalent as a narrative device, it leads to more chinks in the armor so to speak. Because what begins as something fairly authentic and relatable starts to show more and more aspects that don’t feel like our lives anymore. Not simply someone going missing but how technology is utilized even in the everyday. These subsequent scenes feel slightly unnatural whereas the opening interludes where full of recognition with moments we all probably relate to.
The core issue is the human aspect being gone. It loses a heartbeat on its characters who are meant to make this thriller something to really get invested in. Searching never quite got me there, where I felt an innate connection. Again, noting the obvious irony, the screens got in the way.