Meewella | Critic

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Tag: Ken Leung

QuickView: Missing (2023)

Missing poster

“Mom, where are you guys?”

June

Directed by the co-editors of 2018’s wonderfully unique Searching, Missing tells a similar story and deploys the same storytelling conceit, unfolding through applications on a screen, but it suffers for the comparison. Inverting its predecessor’s story, June is an 18-year-old searching for her missing mother who disappears while on holiday — June is well equipped to investigate as a tech-savvy youth and, naturally, a true crime afficionado. Missing is less faithful to its screenlife gimmick than Searching, and the issue with this half-measure is that the whole exercise becomes a clunky method of storytelling without the same consistent voyeurism. It does deliver a more involved story with a well-executed midpoint twist, though its later revelations become distractingly convoluted. Storm Reid is believable as June, but a frequently sullen and detached teenager is a far less engaging protagonist in a medium that already distances the audience through layers of interface, clouding any emotional investment. There is enough that works to make Missing worthwhile but the inescapable déjà vu serves as a constant reminder that Searching delivered something all to similar in a more effective package.

6/10

QuickView: Old (2021)

“Stop wishing away this moment.”

Prisca

As a high-concept fable about time and aging, Old shows early promise with a group of strangers stranded on a beach where the flow of time means that they will age a full lifetime in the span of just one day. Sadly the writing never comes close to a coherent or thoughtful exploration of these ideas and dialogue is painfully stilted. Instead the premise gets old fast, which would be impressive were it deliberate. Although Shyamalan continues to attract talented actors, there is no depth to characters who are mere cyphers (an actuary worried about future risk married to a museum curator interested in the past) or fodder for the plot, all ultimately hapless victims as the film leans into temporal body horror. Shyamalan remains a victim of early success as — though this is not a film that relies on a grand twist — he does try to cram in narrative complexity at the end, which does little more than highlight an intriguing bioethics angle that might have been more engaging if it were more than an afterthought. Old is a tedious way to lose two hours of your life but at least it is never scary enough to age you prematurely.

4/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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