Searching ‘sequel’ gets a software upgrade in this gripping thriller set within the four corners of a variety of screens. Storm Reid leads a strong cast, while directors Merrick and Johnson offer a solid directorial debut that will have you on the edge of your seat throughout.
Like the found-footage subgenre and the like that followed it, the computer screen thriller (can we think of a better name?) has had a more limited life in recent years. Profile, Host, Unfriended, and this film’s forefather Searching have all delighted in their own way, and while some have been stronger than others, this new work sits toward the top of the pile with frenetic energy and editing its biggest asset, the screenplay cleverly keeping its viewer guessing until the very end flickering frames.
The story is completely stand-alone, a Netflix dramatisation of the feature’s events the only reference to the feature, and it’s not long until the new narrative is put in place. Our protagonist June (Storm Reid) is our guide to proceedings this time ’round, a flashback delivered (in old digitised footage) in the prologue with her looking back at images of her and her father before he sadly passed away. Years after the footage was taken with June now 18, her mother, Grace (Nia Long) has a new partner, and we soon learn that they are off and away on a getaway to Columbia. June looks forward to getting supremely drunk with her mates in their absence but does promise to pick them up from the airport some days later. The hook of the story is that when June arrives at LAX to collect them, Grace and Kevin have not returned, and are instantly presumed missing. With the help of a trusty laptop and other tech, June must put together the pieces to attempt to find out why and how her mother and future stepfather have suddenly vanished.
I had a hoot with this film. Insanely engrossing from the outset, Missing is a worthy sequel to its predecessor, and absolutely worth the visit. First-time directors Merrick and Johnson have delivered a twisty, hugely entertaining thriller that is a cross between an equally engrossing Netflix docuseries and a Harlen Coben page-turner. Wonderfully edited by Austin Keeling and Arielle Zakowski, the film throws so much at you that you really have to sit up and pay attention from the off.
The main problem that I have with found footage or mockumentary films is the technical aspect of proceedings – does it fit the style of film that it is trying to emulate? I was waiting for Missing to trip up with the multiple screens used to tell the story – but it utilises everyone perfectly and you really are never taken out of the confines of some sort of screen – be it a laptop, watch, phone or the like. Brands like Google, Gmail, Instagram, Facebook, Netflix, and Facetime are all used to help June in her quest, and are employed perfectly. See it also as a masterclass in how to use these platforms to their full capacity – I learned how to do new stuff with Gmail I had no clue about prior to watching the film(!)
A strong first half gives way to a slightly weaker second, though it always remains entertaining. Some major curveballs are sent as the film reaches the climax and, while a little too nicely wrapped come the end credits, most audience members will walk away satisfied.
Missing is released in UK cinemas on 24th February.
Missing
Summary
An effective, gripping, hugely rewarding twister of a film that’ll have you guessing until the very end.
