Directing: C+
Acting: B-
Writing: C-
Cinematography: C+
Editing: B+

I suppose it’s an exaggeration to say this movie blows. It’s telling, however, that although I was kind of into it as the story unfolded, once it was over, the more I thought about it, the less I liked it. So perhaps this is the best advice: if you want to enjoy this movie, go ahead and watch it, and then immediately move on to some other thing that makes you forget all about it. Because Searching seriously fails at standing up to any kind of scrutiny.

This movie is, however, dumb. That is not an exaggeration. I never actively set out to solve whatever mystery might be at hand; even in otherwise relatively predictable stories, I am happy just to go along for the ride and be surprised, even if no one else isn’t. And if even I saw the “twist” coming a mile away, that tells you a lot about Searching. As in, it’s predictable enough to insult your intelligence.

And this is no poor reflection on John Cho, for the record. He’s the best thing in this movie, the reason you want to keep watching, anguish etched across his face as his David Kim searches for his missing daughter, Margot (Michelle La). And kudos to this movie, if nothing else, for making it to #4 in box office its first weekend of wide release, thus making two movies with Asian American leads in the American top 5 (along with Crazy Rich Asians at #1), surely a first. Michelle La also makes a strong debut as Margot, very believably cast as a teenager still grieving the loss of her mother to cancer.

But these two people cannot overcome Searching’s insurmountable problems. Debra Messing as an investigator, frankly, comes across as Grace Adler pretending to be an investigator. It’s unfortunate that Messing cannot break free of her iconic role from Will & Grace, but it’s still the reality. Searching would have worked better with another actor in the part.

Not that her part, or any part, is particularly well written. Because I haven’t even gotten to the gimmick in Searching, and it’s a doozy of a gimmick, one the movie leans into hard: the entire movie is shown as computer screens or mobile device screens, all the live action seen as FaceTime video feeds or home movie clips being shown on a desktop, usually without the window being maximized, so we see bits of other open programs behind it, or even parts of the desktop image. Even when Morgot’s case gets into local news segments, these clips are shown as video being watched online by David, the point of view always being the screen he’s looking at, any sight of his face only the front-facing camera showing his reverse feed when he speaks to people.

It’s not exactly subtle, by the way, that every single computing device being used is an Apple product. And while I remain an Apple loyalist and will sing its praises as a superior brand over Windows, the idea that no screen ever freezes at any time, and page downloads or file uploads always finish instantaneously, is preposterous. Okay, I get it that it’s a movie and it has to be edited this way to give the story propulsion, but it’s still an idea ripe for parody. Lots of things happen on these screens that never actually occur in the real world, such as that reverse camera activating to show David sleeping in bed while his daughter attempts to call him in the middle of the night. Hello, the camera doesn’t come on until you answer the FaceTime call! (In the Windows Version of Searching, all the video calls are done on Skype.)

It’s not always video feeds, incidentally. We get plenty of other action on these screens, showing email drafts and iMessage texts and browsing of files and so on. On the surface, it’s kind of a neat trick, this high concept that distracts the viewer from how dumb the story actually is. I suspect few of the many people who are into this movie (it’s getting a pretty positive consensus in its critical response) are thinking of how very much a snapshot of its time it is — maybe even slightly more behind the times than people realize. This is not a movie that will hold up well very far into the future. It’s going to look very dated very quickly. Like, next year. Maybe next week.

This “computer screens” framing device (literally!) also requires some pretty contrived scenarios for the presentation of key scenes. When David feels the need to confront his suddenly suspicious brother Peter (Joseph Lee), he sets up several devices around his living room and kitchen in an attempt to record “proof” of his guilt. This allows for a pivotal scene to unfold from multiple angles. It’s easy to call this clever. As a viewer, I call it distracting. Realistically, an anguished father like David would never be that successfully savvy. Peter even opens a kitchen cupboard right where one of the cameras is and never notices it.

I’ll give Searching this much credit: considering the conceit, and its presentation unlike that of any other conventional mainstream movie, I found myself pretty easily sucked into the store, in spite of all its predictable stupidity. I won’t deny that it held my attention. Does that mean the movie is good? Okay — it’s entertaining. What bugs me about it, though, is that it seems to have duped a great number of people into thinking it’s “smart.” I would fervently beg to differ on that point.

John Cho is  searching  for something in this movie to take seriously.

John Cho is searching for something in this movie to take seriously.

Overall: C+