Although some may see ‘Searching’ as nothing more than a gimmick, as this hyper-modern found-footage thriller utilises (and in many ways refines) the same format as the low-budget 2015 horror: ‘Unfriended’ and it’s 2018 sequel: ‘Unfriended: Dark Web.’ ‘Searching’ has much more to offer than just having its narrative play-out over a computer screen, as first time co-writer and director Aneesh Chaganty constructs an engrossing story around this seldom concept, focusing on the disappearance of a teenage girl and the unfolding drama that follows.
Plot Summary: When ‘David Kim’s sixteen-year-old daughter: ‘Margot’ goes missing, a local investigation is opened and a detective is assigned to the case. But after thirty-seven hours pass without a single lead, ‘David’ decides to search the one place he believes his daughter holds all her secrets, her laptop…
Shot in only thirteen days yet taking over two years to complete due to the large amount of prep, editing, and animation work. The fundamental idea of: ‘Searching’ may have already been attempted with the previously mentioned: ‘Unfriended’ franchise among some other horror flicks, but what makes the film stand-out is its story, as ‘Searching’ veers away from the usual paranormal scares of most found-footage films to focus on a missing persons case, which does better fit this style of filmmaking, in my opinion, a subgenre now commonly known as cyber-horror. Furthermore, the film’s protagonist being: ‘Margot’s father gives ‘Searching’ a strong emotional core, as nearly every parent can relate to the fear of their child going missing. On top of this, the film also manages to weave in an overarching theme about the dangers of social-media, giving the film quite an impactful message in spite of how many times its been covered in cinema.
Considering John Cho is best known for his comedic roles, it has to be said that Cho does a phenomenal job throughout the film as ‘David Kim.’ Portraying a realistic depiction of a panicked father’s online movements as he desperately tries to track down his daughter, and the film provides us with plenty of dramatic moments to really let us feel ‘David’s pain. This is an even greater achievement when taking into account that Cho spends the majority of his screen-time just sitting in front of a computer screen looking ever so slightly right of the camera. Unfortunately, ‘David’s daughter portrayed by Michelle La isn’t as impressive, but this may also be due to her dialogue, as many scenes involving ‘Margot’ seem to be quite trite in nature. And then, finally, there is Debra Messing as ‘Detective Vick,’ who is serviceable in her role as a firm detective investigating ‘Margot’s disappearance.
The cinematography of: ‘Searching’ is interesting-enough on itself even without the story’s central mystery, as the film’s camerawork was actually handled by three different cinematographers. The first being the film’s standard cinematographer Juan Sebastian Baron for whenever the film is shot through iPhones and GoPro cameras, and second being the film’s virtual cinematographers Nick Johnston and Will Merrick, who help give the film a more dynamic feel by controlling the movement of the camera whenever we are looking through a computer screen, drawing the eyes of the audiences to specific areas and details. But, of course, as the film is primarily on a screen or shot through a phone, beautiful shots are basically nonexistent. Its also not uncommon for the film’s editing to feel overly intense at points, appearing as if its trying far too hard to build tension.
In a surprising turn for a found-footage flick, ‘Searching’ does actually have an original score composed by Torin Borrowdale, the film’s soundtrack heavily leans into the story’s technological focus, being an electronic score with a strong emphasis on building tension or a creating a calming window of relief. And while the opening track: ‘New User’ is immensely corny, later tracks such as: ‘No Reception,’ ‘San Jose Missing Persons,’ and ‘Search by Image’ do greatly add to the impact of certain scenes.
Additionally, whilst all of the computer systems, programs, apps, and websites we see during the runtime aren’t the actual versions, but instead templates that were recreated from scratch and then animated. The sheer amount of detail and realism that goes into each second of screen-time we spend on the computer screen simply can’t be ignored, as ‘Searching’ never implements hilariously fake websites into its story like ‘iGram,’ ‘Search,’ and other dreadful knock-offs we’ve seen in similar films. Instead, both ‘David’ and ‘Margot’s laptops feel like real devices, having their message/Email inboxes overflowing and many real-world apps and websites like Google and YouTube open at one time.
In conclusion, ‘Searching’ may still be a gimmick film in a multitude of ways, but I feel for those who can look past the film’s occasionally cheesy moments and in all honestly, fairly bland characters beyond their basic motivations. ‘Searching’ is still an engaging thriller/mystery with enough propulsion and small clues to keep most viewers invested, further ironing-out the kinks in this obscure subgenre so when it all comes together, it’s with a most pleasurable snap. Final Rating: high 7/10.