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    Movie Review

    Searching makes smart use of technology for modern mystery

    Alex Bentley
    Aug 30, 2018 | 2:21 pm
    Searching makes smart use of technology for modern mystery
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    At first glance, the filmmaking technique of Searching seems to be an unnecessarily distancing one. Literally every second of the film is viewed as if looking at a computer screen, so that none of the actors ever appear to be acting for the camera. It’s the same technique utilized by the Unfriended horror movie series, which is produced by the same company, Bazelevs Production.

    This time, instead of trying to scare the audience, they’ve turned to a mystery, with arguably much better results. John Cho plays David Kim, who, along with his daughter, Margot (Michelle La), is struggling to get by after the untimely death of his wife, Pamela (Sara Sohn). The struggle gets even more difficult when Margot goes missing after a late-night study group.

    Desperate to find his daughter, David tries to track her movements using the best resources available — her computer and the Internet. With the help of the detective assigned to the case, Rosemary Vick (Debra Messing), he doggedly pursues every clue he can find, often coming up with answers to questions he didn’t know he should have.

    Perhaps it’s the ubiquitousness of being on a computer or a smartphone every day, but after a settling-in period, the film seems to give the audience a perceived sense of control. Writer/director Aneesh Chaganty, along with co-writer Sev Ohanian, do an amazing job of making the act of clicking around and typing on a computer seem as compelling as any traditional narrative could be.

    They’re helped by a variety of video options available, most notably Facetime. Although slightly unbelievable — does anyone actually use Facetime on a computer? — its usage allows the filmmakers to give the characters just enough, well, face time so that the story retains the requisite emotion.

    The believability factor is upped even more by the film, with one notable exception, using real websites and devices instead of fake ones like many other movies do. It’s much easier to put yourself in the shoes of the characters when they’re using Google or scrolling through Facebook and Instagram on their Macbook or iPhone.

    Best of all, though, the filmmakers don’t let the gimmick of the film get in the way of telling a good story. The twists and turns it takes throughout the course of its 102-minute running time are as surprising and effective as any conventional film, and perhaps even more so given the setting.

    Much has been made about the all-Asian cast of Crazy Rich Asians, but there’s something even more notable about having an Asian family at the center of a movie like this. Their ethnicity is a minor but still important element of the film, and thanks to the performances of Cho, La, and Sohn, the situations they experience are as close to universal as you can get.

    Though it might not age well given the speed that the world changes, Searching is an of-the-moment film, one that makes great use of modern-day technology to tell an enthralling story.

    John Cho in Searching.

    John Cho in Searching
    Photo by Sebastian Baron
    John Cho in Searching.
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    Movie Review

    Lust eclipses romance in new adaptation of 'Wuthering Heights'

    Alex Bentley
    Feb 12, 2026 | 2:15 pm
    Jacob Elordi and Margot Robbie in Wuthering Heights
    Photo courtesy of Warner Bros. Pictures
    Jacob Elordi and Margot Robbie in Wuthering Heights.

    Emily Brontë’s 1847 novel Wuthering Heights is one of those classic books assigned in high school English classes, and it has received a number of film adaptations over the years, each of which differ in numerous ways from the source material. Purists won’t receive any reprieve from Emerald Fennell’s 2026 adaptation, with a title that is stylized as "Wuthering Heights” for good reason.

    Cathy (played as an adult by Margot Robbie) and Heathcliff (Jacob Elordi) have known each other their entire lives, with Cathy’s alcoholic and inveterate gambler father (Martin Clunes) taking in Heathcliff on a whim when he was a boy. The two bond as they grow up together, although Cathy always seems to have an eye on moving up in society from their relatively impoverished lifestyle.

    Cathy finally gets her wish when the rich Linton familyled by Edgar (Shazad Latif), moves in down the road, Despite discovering she has feelings for the now grown-up Heathcliff, Cathy sees Edgar as her way out and agrees to marry him. A scorned Heathcliff flees, returning years later as mysteriously wealthy. His reappearance ignites something in Cathy’s soul, and the two engage in a perhaps unwise affair.

    Fennell (Promising Young Woman, Saltburn) infuses the dusty material with an energy that’s not typically present in stories set in this particular time and place. Aside from the occasional Charli XCX song (the singer created a whole concept album for the film), the film looks and feels like a period piece, albeit one that doesn’t get bogged down in the drudgery that can sometimes come from films set in the distant past.

    Much of that has to do with the lust the filmmaker puts into the story. Even if you’re not familiar with Brontë’s book, you can rest assured that Fennell has strayed far from the text, giving Cathy and Heathcliff thoughts and actions unthinkable in the 19th century. Fennell plays with expectations by opening the film with audio featuring creaking noises and a man grunting, conjuring up a situation far different than what is actually happening, and she also makes liberal use of rain, sweat, and tears to make the actors enticing.

    What she can’t do, however, is make the two lead characters compelling. Cathy is a striver who never seems to know what she wants out of life, and Heathcliff goes from a bore to a brute over the course of the film, with no clear indication that he likes anybody, much less Cathy. Anyone expecting some kind of grand romance will be disappointed as Fennell is much more interested in making the film weird, like having the walls of Cathy’s room look like her skin, complete with freckles.

    Robbie and Elordi do well enough with the material, and it’s clear that both of them are committed to bringing Fennell’s vision to life. Their styles tend to balance each other out, and if the story had been committed to their characters’ relationship, they might be lauded for their chemistry. In the end, though, the supporting actors feel more interesting, including ones played by Hong Chau, Alison Miller, and Clunes.

    This version of Wuthering Heights should never be construed as an alternative to reading the book for any high schoolers out there. While Fennell makes the film interesting with her technical filmmaking choices, the story never finds its footing as it fails to sell the one thing that it seems to promise.

    ---

    Wuthering Heights opens in theaters on February 13.

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