‘Wounds’: the sinister descent into the darkness of Armie Hammer on Netflix leaves you with honey on the lips
four years Ago, is released as a horror film titled ‘Deleted’ playing with relative ease with the use of new technologies to offer a different point of view to the usual in this type of proposals. It is not that it is a movie excellent, but it does have enough virtues to make it possible for it to fall into oblivion.
Between the producers of ‘Deleted’ was Timur Bekmambetov, a fearsome Russian director in this another facet has been shown to have something more than vision. The last test of her have ‘Searching’, remarkable thriller that re-placing the viewer literally to a computer screen to tell us the desperate research of a father to find his kidnapped daughter.
Preparing the way to success
One of the first hits of ‘Searching’ is not want to go direct to the heart of the story to have enough time for the viewer to get to know its characters and understand the state of the relationship between father and daughter, thus helping to more emotional involvement on our part with what is to come next. Soon it goes from the anecdotal to something more dramatic -although at another level, I would not be surprised that some will agree on an ‘Up’ – all with ease and taking advantage of with great success the perspective chosen.
however, it is the moment in which it arrives, the kidnapping when ‘Searching’ is facing a final decision on what film it wants to be: a thriller that is unique and different or one that’s more conventional that you limit yourself to use new technologies with a resource to go to using it only as it suits them. Luckily, Aneesh Chaganty, director and co-writer of the film, it is clear that it is the first thing that needs to be strengthened.
For this reason, ‘Searching’ opt for to keep your attention at all times in the father played by John Cho, but the curious thing is that the research that takes place is more plausible than what we are used to Hollywood in these cases. Linking that to your finish different formal we have the breeding ground for the voltage each time berry working better, something that is also reflected in the progressive deterioration of emotional of the protagonist to see that the thing is not moving forward.
Vibrant and compelling
The great virtue of ‘Searching’ is that you know how to connect a finish of impeccable technical with a dash is well-built and do not see the seams at the first change, something common in a lot of kidnappings -in other cases not seen because there is a commitment to a final crazy, an even greater problem-. In addition, good interpretative work -Cho carries the weight very well, but Debra Messing: also helps his thing as the police in charge of the case – is the other support so that everything goes like a shot.
The intense but never over run pace also plays to your favor, above all, from a certain point-basically when it comes to the first real track on the possible whereabouts of the missing – everything seems a little more conventional. It is inevitable to return in a certain moment on territory which is already known, but everything that surrounds the evolution argument is still verging to a very high level, thus compensating for plenty of that possible weakness.
beyond that, the end of the story is quite effective. It is true that there is where the movie shines less, but there is not one of those dreaded lows of the last time that many times damage to the thrillers. Chaganty manages to keep the tension alternating occurrences techniques that take hand. I really have no sticks important that you put ‘Searching’.
In short, the ‘Searching’ is a very good thriller that knows how to play with their virtues techniques but without falling into the error of focussing only on them. Also handled well the characters and the suspense shines when there is uncertainty and remains convincing when you put all the cards on the table, even though there is a chance too big too important to fix it all.
The news ‘Searching’ is one of the a lot more surprising and effective of the year was originally published in Espinof by Mikel Zorrilla .
September 26, 2018
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