Author Archives: Keith Garlington

REVIEW: “Four Samosas” (2022)

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6

Part heist movie and part romantic comedy, “Four Samosas” is a low-budget screwball romp in the spirit of early Wes Anderson but with a sneakily infectious personality all its own. It all flows from writer-director Ravi Kapoor who infuses this whimsically toned indie with all sorts of narrative and visual quirks. Better yet, the often hysterically precise writing serves up some really big laughs. And its hard not to love the playful energy that flows out of every pore of this meager yet oh so clever little gem.

While the Anderson influence can be seen everywhere (the storytelling, the endearing collection of goofball characters, the distinct camera choices, the saturated color palette, even some red tracksuits ala “The Royal Tenenbaums”), “Four Samosas” still manages to feel like its own movie. Kapoor gives us an unashamedly farcical culture comedy with a unique, hard to resist energy that makes it easy to look past its limitations. Sure, it’s undeniably frothy and the budget constraints are impossible to miss. But Kapoor shows himself to be a crafty filmmaker, playing around with genre while diving into and having fun with his Indian heritage and traditions.

Image Courtesy of IFC Films

Set in Artesia, California in a part of town known as “Little India”, the film opens with the camera locked onto Juneja’s Supermarket. Suddenly four robbers sporting disguises too absurd to describe burst out that front doors and tear off across the parking lot. It’s a heist, but had they pulled it off or had it gone bad? Well, the title screen gives us our answer. The words “Four Samosas” is literally followed by “and the ill advised grocery store heist”. ‘Nuff said.

From there we bounce back a few days where we’re introduced to Vinny (Venk Potula), an underachieving yet infinitely likable aspiring rapper who sells garments at a saree shop. Vinny is still having a hard time getting over being dumped by his ex-girlfriend Rina (Summer Bishil) some three years ago. “Pains got its own clock,” he waxes not-so-philosophically. Now he gets wind that Rina’s engaged to marry Sanjay (Karan Soni), an air-headed entrepreneur set to make his fortune in the field of goat poop (yep, you read that right).

In an effort to ruin the wedding, a heartbroken and revenge-fueled Vinny hatches a plan – an utterly ridiculous and doomed-to-fail plan, but a plan nonetheless. He’s going to break into the grocery store owned by Rina’s father (Tony Mirrcandani) and steal a pickle jar full of “dirty” diamonds. To pull it off he recruits three equally oblivious cohorts: his best friend and Bollywood dreamer Zak (Nirvan Patnaik), the chatterbox Anjali (Sharmita Bhattacharya) who publishes her own neighborhood newspaper, and Paru (Sonal Shah), a neurotic malcontent who may or may not have safe-cracking skills.

Image Courtesy of IFC Films

From there the story steadily gains momentum, only slowing down for brief chapter breaks. And the humor just gets funnier and funnier with Kapoor pulling as many laughs from his camera as from his script. It’s shot on location and full of local Indian flavor which makes the setting bubble with life. And it’s full of cultural references and inside jokes that’s sure to resonate and amuse some more than others. Me, as someone who loves these neighborhoods slice of life movies, I ate it all up.

While the film’s tight 80-minute runtime ensures it doesn’t overstay its welcome, it also leaves a few things undercooked. For example, the supporting characters aren’t given much in terms of depth, and there’s the barely scratched relationship between Vinny and his (kinda) estranged father (played by Kapoor). But if you’re okay with the film’s openly mindless free-wheeling spirit (I was), you’ll find a lot to like in this charming and consistently funny jaunt. “Four Samosas” is now available on VOD.

VERDICT – 4 STARS

REVIEW: “Maybe I Do” (2023)

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10

For some it might come as a surprise, but romantic comedies aren’t just limited to sexy, super attractive young couples. I mean just because people reach a certain age doesn’t mean their relationships lose their richness or are any less complicated. With that being true, there are all kinds of senior stories to tell and senior perspectives to explore. Some movies have tried to fill that hole and missed mightily. The new film “Maybe I do” is what you could call a mild success. It’s a movie that not only represents older couples, but that actually does something interesting within its well-traveled genre.

Led by his experiences from stage, television, and film, writer-director Michael Jacobs steers a star-studded cast in this multi-generational romantic comedy about love, marriage, and all the sticky stuff in between. The ensemble alone is a good draw (especially for anyone above or approaching 50). But there’s also some good humor baked into the film’s undeniably goofy premise. It’s that humor, and Jacobs’ ability to create characters who are slightly more than cartoonish caricatures, that makes the movie work.

Image Courtesy of Vertical Entertainment

Michelle (Emma Roberts) and Allen (Luke Bracey) seem to be a perfect match. But the young couple have come to a critical point in their relationship. They are very much in love, and they can’t imagine being with anyone else. The problem is Allen loves things just as they are, while Michelle is ready to take the next step. Allen is afraid of losing what they have. Michelle sees marriage as the ultimate sign of commitment and feels it’s what they had been working towards.

After Michelle gives Allen an ultimatum, they each go home to their parents in hopes of sorting things out. And this is where the silliness kicks in. Despite their long and serious relationship (to the point of talking marriage), their parents have never formally met, even though they live in the same city. I say formally because both sets of parents are actually having affairs with each other, completely unaware that their kids are an item. So when Michelle and Allen decide to bring their folks together over dinner to help with their big decision, the film turns into a comedy of errors.

While the setup is undeniably corny, “Maybe I Do” never turns into the overly sentimental mush that many rom-coms do. Much of it has to do with Jacobs’ script. But just as important are the performances. Diane Keaton plays Michelle’s bubbly but lonely mother Grace, while Richard Gere plays her father Howard who shows all the signs of a later-life crisis. Allen’s barracuda of a mother Monica is played by Susan Sarandon, while William H. Macy plays his father Sam, a gentleman and a romantic at heart.

Image Courtesy of Vertical Entertainment

The four screen veterans handle the material like aces, navigating some first act cringe to really bring their characters to life. There’s no shortage of good on-screen chemistry between them, and some of the comedic timing is spot-on (mostly from Macy whose can deliver dry humor as good as anybody). And Jacobs does a good job giving each parent their own personality and perspective. It leads to some unexpectedly fun and witty exchanges. Not to mention it’s just plain fun to see Keaton, Gere, Sarandon, and Macy sharing a screen.

“Maybe I Do” doesn’t fully avoid all the rom-com trappings, and you really have no choice but to go with its far-fetched (and often glaringly convenient) scenario. How much mileage you get out of the film may hinge on how willing you are to accept the silliness. Yet there are things to like, from its fun and form-fitting cast to its cynical then surprisingly affirming view of relationships, old and (relatively) new. Best of all, it’s the kind of movie that should appeal and connect with audiences of all ages. And that’s not something you can say about most of today’s romantic comedies. “Maybe I do” hits theaters January 27th.

VERDICT – 3 STARS

REVIEW: “American Murderer” (2022)

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4

For fans of true crime, writer-director Matthew Gentile’s feature film debut “American Murderer” makes for a sturdy genre entry. It’s a crime thriller based on the true story of Jason Derek Brown, a crafty and charismatic conman who became one of the most wanted fugitives in the United States. In 2007 he was placed on the FBI’s Ten Most Wanted List where he remained until September of last year. Despite years of countless tips and the Bureau’s efforts, Brown has yet to be captured.

On November 29, 2004 a gunman believed to be James Derek Brown shot and killed a 24-year-old armored car guard outside of a Phoenix movie theater. At approximately 10 AM, Robert Keith Palomares walked out of the theater with $56,000 in weekend deposits. He was immediately ambushed by a hooded Brown who shot Palomares five times in the head before fleeing with the bag of money. Eyewitnesses and security cameras helped authorities to pinpoint Brown as their suspect.

Gentile uses a fractured timeline structure to tell Brown’s story, nimbly moving us from one point to the next through the investigation of a dogged FBI agent named Lance Leising (Ryan Phillippe). We follow Leising as he interviews those close to James who may have information he can use. During the interviews, we’re treated to a series of flashbacks that give us a better picture of James Derek Brown. In them he’s played with a wicked allure by Tom Pelphrey.

Pelphrey’s convincing portrayal reveals to us a narcissistic sociopath who is able to conceal his devilish true self behind a facade of sensitivity and charm. We watch as Brown, with no conscience and no remorse, lies, scams, and steals in an effort to maintain his lavish yet spurious lifestyle. Along the way, those he cons range from a trusting single mom (Idina Menzel) and a low-rung street hood (Moisés Arias) to his very own sister (Shantel VanSanten) and mother (Jacki Weaver).

Despite knowing it all culminates in a cold-blooded murder, it’s mostly through his interactions with the above characters that we realize the depths of Brown’s depravity. In one sense it’s a fascinating watch – seeing how systematically he goes along with his ruse and observing his callous disregard for his victims. There are a couple of brief breaks where we do see what looks like genuine compassion, mainly towards his sister. But even those moments are tainted by his shameless self-regard.

But in another sense, it would be nice to know the other side of James Derek Brown – from before he became hopelessly irredeemable. In fairness, “American Murderer” is focused on a specific time frame in Brown’s life. It seeks to show the immediate events leading up to him brutally murdering Robert Keith Palomares. But it feels like we’re missing so much of his story. There are a couple of childhood flashbacks and we hear allusions to who he used to be. But it’s never quite enough to give us a well-rounded perspective.

Yet Gentile does a terrific job of keeping us invested, straight through to the broad daylight, execution styled murder. Much of it is due to his keen direction, more specifically his efficient pacing and the methodical way he builds towards the story’s fatal crescendo. And he’s helped by all-around good performances, especially from Pelphrey who loses himself in a truly diabolical role. I still wish I had a better grasp of his character, but there’s no denying that Pelphrey delivers one of the most seductively vile villains you’ll see on screen. “American Murderer” played in select theaters and is now available on VOD.

VERDICT – 3.5 STARS

Random Thoughts: The 2023 Oscar Nominations

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24

Over the years the annual Academy Awards nominations have become easier to predict. Perhaps its social media or maybe its their growing lean towards trendier picks. But we usually have a good grasp of where the Academy is going prior to announcement day. Yet they always manage to pack in a surprise or two, and you can always count on some glaring omissions. This year is no different, especially in the omission department. There were a few hits but FAR more misses.

This morning we heard this year’s batch, many predictable, a few mild surprises, and some ridiculous and frustrating snubs. Here are a few Random Thoughts on the 2023 Oscar nominations.

  • To no one’s surprise, the trendy “Everything Everywhere All At Once” loaded up with 11 Oscar nominations. It’s an erratic and messy film, but it has a huge social media backing. And that seems to carry a lot of weight these days. It’ll be no surprise when it wins big on Oscar night.
  • Speaking of trendy picks, Paul Mescal gets the final spot for Best Actor. It’s a nice performance, but I can think of several others that deserved that spot more. Take the astonishing work from Felix Kammerer in “All Quiet on the Western Front”.
  • Best Actor looks to be a two-man race between Colin Farrell and Austin Butler, with Brendan Fraser having an outside chance. Let’s be real, 2022 was the year of Colin Farrell. It would be a travesty if he doesn’t win.
  • As for the extraordinary “All Quiet on the Western Front”, despite being tossed aside by the majority of critics groups, the Academy (much like BAFTA) gave the film its due, handing it nine nominations including Best Picture. It was the morning’s brightest spot.
  • That said, judging by how this year has gone, I can see “All Quiet” getting nine nominations and winning nothing.
  • Also nine nominations went to “The Banshees of Inisherin”, a terrific film and Martin McDonagh’s best to date. It takes home nods for Best Picture, Best Director, and Best Original Screenplay, on top of FOUR acting nominations. It had a deservedly big morning.
  • But just when you’re ready to praise the Academy more, they pull something like this. No Best Actress nomination for Danielle Deadwyler! It’s a ludicrous botch that frankly makes it hard to take the category seriously.
  • Actually, it doesn’t appear that “Till” resonated with Academy voters at all. Not a single Oscar nomination for the piercing period drama.
  • Hollywood had its own #ReleasetheSnyderCut moment with Andrea Riseborough getting a Best Actress nomination following a last minute campaign by some prominent fellows actresses. I (like most people) haven’t seen the movie so I can’t comment on the performance. But Danielle Deadwyler….
  • NOTHING for “Decision to Leave”??? Nothing at all? No Best International Film. No Best Director. No Best Cinematography. No Best Actress. So much could be said but why bother.
  • Surprisingly, the Academy saw through the flimsy facade of “Babylon”. It was barely a blip this morning.
  • The much hyped “Naatu Naatu” gets in for Best Original Song. Don’t get me wrong, I love that it was chosen. But again I ask, would it be nominated if it hadn’t been accompanied by that magnetic dance number? I dunno, but it’ll be great seeing it on Oscar night.
  • It’s ludicrous that “Everything Everywhere All At Once” has two nominees for Supporting Actress yet “Women Talking” gets nothing. Hsu and Curtis were fine, but come on.
  • Sticking with Supporting Actress, give me Condon or Bassett out of that group. Both kill it in their respected roles. Bassett is the very best thing about “Black Panther: Wakanda Forever” while Condon holds her own with everyone on screen in “The Banshees of Inisherin”.
  • Among the few nice surprises (and there weren’t many), it was great seeing “The Quiet Girl” nominated for Best International Film. Such a beautiful and underseen movie. Hopefully more people will get a chance to check it out.
  • But no “RRR” for International Film? That’s another miss for the Academy.
  • “Bardo” being nominated for cinematography is terrific. It’s a stunning film in large part thanks to the incredible work from Darius Khondji.
  • Both “The Fabelmans” and “Tár” find themselves in odd places. Plenty of nominations between them, but no real feeling that either will leave Oscar night with many wins.
  • No Best Cinematography nomination for “Top Gun: Maverick”? Really? But hey, how could it compete with “Empire of Light” and “Tár” (sarcasm absolutely intended).
  • No Best Director nomination for Edward Berger for “All Quiet on the Western Front” is sad, especially considering some of those who received noms.
  • The complete dismissal of “The Batman” in the Best Original Score category still irks me. Of course it had no chance of getting an Oscar nomination since it didn’t even make the Oscar short list!!! Ridiculous.
  • It was a surprising morning for “Triangle of Sadness”. The biting ‘Eat the Rich’ satire took home nominations for Best Picture, Best Director, and Best Original Screenplay.
  • I would have loved to see Tom Cruise get a Best Actor nomination. He was great in the “Top Gun: Maverick”, but did he ever really have a chance? I kinda doubt it. Still, with his film have a strong showing this morning, I had hope. But leaving him out is such an Oscar move.
  • So wonderful to see “Guillermo del Toro’s Pinocchio” in Best Animated Feature. It’s the clear front-runner for the category. At the same time, it’s a bummer that it didn’t get anything else. No Best Picture, no Best Original Score, no Adapted Screenplay.
  • Speaking of animation, the industry-wide overlooking of Richard Linklater’s stellar “Apollo 10 1/2: A Space Age Childhood” was completed. Nothing for it from the Academy or any organization for that matter. Such a shame.
  • The Best Supporting Actor category has no drama whatsoever this year. Ke Huy Quan is the sentimental choice, and there’s no doubt he will win. This should be Keoghan’s year, but unfortunately it’s not to be.
  • Judd Hirsch getting a Supporting Actor nod for “The Fabelmans” over Paul Dano seems criminal. But it is nice seeing Brian Tyree Henry nominated for “Causeway”. He gives a terrific performance in a movie that has otherwise been overlooked for most of the awards season.
  • A lot of people are disappointed in “The Woman King” being shut out. I liked the film. But to be honest, outside of Lashana Lynch, nothing else would have gotten my vote.
  • Happy for “Women Talking” sneaking into Best Picture over movies like “The Whale” and “Babylon”.

And those are a few of my Random Thoughts about the 2023 Academy Awards nominations. What did you think of this year’s batch? Here is a full list of the nominees.

Best Picture

  • All Quiet on the Western Front
  • Avatar: The Way of Water
  • The Banshees of Inisherin
  • Elvis
  • Everything Everywhere All At Once
  • The Fabelmans
  • Tár
  • Top Gun: Maverick
  • Triangle of Sadness
  • Women Talking

Best Directing

  • Martin McDonagh – The Banshees of Inisherin
  • Daniel Kwan and Daniel Scheinert – Everything Everywhere All At Once
  • Steven Spielberg – The Fabelmans
  • Todd Field – Tár
  • Ruben Ostlund – Triangle of Sadness

Best Actor in A Leading Role

  • Austin Butler – Elvis
  • Colin Farrell – The Banshees of Inisherin
  • Brendan Fraser – The Whale
  • Paul Mescal – Aftersun
  • Bill Nighy – Living

Best Actress in a Leading Role

  • Cate Blanchett – Tár
  • Ana de Armas – Blonde
  • Andrea Riseborough – To Leslie
  • Michelle Williams – The Fabelmans
  • Michelle Yeoh – Everything Everywhere All At Once

Best Actress in a Supporting Role

  • Angela Bassett – Black Panther: Wakanda Forever
  • Hong Chau – The Whale
  • Kerry Condon – The Banshees of Inisherin
  • Jamie Lee Curtis – Everything Everywhere All At Once
  • Stephanie Hsu – Everything Everywhere All At Once

Best Actor in a Supporting Role

  • Brendan Gleeson – The Banshees of Inisherin
  • Brian Tyree Henry – Causeway
  • Judd Hirsch – The Fabelmans
  • Barry Keoghan – The Banshees of Inisherin
  • Ke Huy Quan – Everything Everywhere All At Once

Original Screenplay

  • The Banshees of Inisherin – Martin McDonagh
  • Everything Everywhere All At Once – Daniel Kwan & Daniel Scheinert
  • The Fabelmans – Steven Spielberg & Tony Kushner
  • Tár – Todd Field
  • Triangle of Sadness – Ruben Östlund

Adapted Screenplay

  • All Quiet on the Western Front
  • Glass Onion: A Knives Out Mystery
  • Living
  • Top Gun: Maverick
  • Women Talking

Best International Feature Film

  • All Quiet on the Western Front
  • Argentina, 1985
  • Close
  • EO 
  • The Quiet Girl

Animated Feature Film

  • Guillermo del Toro’s Pinocchio
  • Marcel the Shell with Shoes On
  • Puss in Boots: The Last Wish
  • The Sea Beast
  • Turning Red

Original Song

  • “Applause” – Tell it Like a Woman
  • “Hold my Hand” – Top Gun: Maverick
  • “Lift Me Up” – Black Panther: Wakanda Forever
  • “Naatu Naatu” – RRR
  • “This is a Life” – Everything Everywhere All At Once

Best Documentary Feature Film

  • All That Breathes
  • All the Beauty and the Bloodshed
  • Fire of Love
  • A House made of Splinters
  • Navalny

Makeup and Hairstyling

  • All Quiet on the Western Front
  • The Batman
  • Black Panther: Wakanda Forever
  • Elvis
  • The Whale

Production Design

  • All Quiet on the Western Front
  • Avatar: The Way of Water
  • Babylon
  • Elvis
  • The Fabelmans

Film Editing

  • The Banshees of Inisherin
  • Elvis
  • Everything Everywhere All At Once
  • Tár
  • Top Gun: Maverick

Cinematography

  • All Quiet on the Western Front
  • Bardo, False Chronicle of a Handful of Truths
  • Elvis
  • Empire of Light
  • Tár

Visual Effects

  • All Quiet on the Western Front
  • Avatar: The Way of Water
  • The Batman
  • Black Panther: Wakanda Forever
  • Top Gun: Maverick

Costume Design

  • Babylon
  • Black Panther: Wakanda Forever
  • Elvis
  • Everything Everywhere All At Once
  • Mrs. Harris Goes to Paris

Achievement in Sound

  • All Quiet on the Western Front
  • Avatar: The Way of Water
  • The Batman
  • Elvis
  • Top Gun: Maverick

Original Score

  • All Quiet on the Western Front
  • Babylon
  • The Banshees of Inisherin
  • Everything Everywhere All At Once
  • Elvis

Best Documentary Short Film

  • The Elephant Whisperers
  • Haulout
  • How do you Measure a Year?
  • The Martha Mitchell Effect
  • Stranger at the Gate

Live-Action Short Film

  • An Irish Goodbye
  • Ivalu
  • Le Pupille
  • Night Ride
  • The Red Suitcase

Animated Short Film

  • The Boy, The Mole, The Fox and The Horse
  • The Flying Sailor
  • Ice Merchants
  • My Year of Dicks
  • An Ostrich Told me the World is Fake and I Think I Believe It

REVIEW: “Waltair Veerayya” (2023)

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7

There’s a lot to like about the new Teluga-language action-comedy “Waltair Veerayya”. Directed by Bobby Kolli, the movie takes some big swings and has an even bigger vision. There are bursts of good action, several compelling characters, and a spare laugh or two. And it leans heavy on its big star, Chiranjeevi, giving plenty of screen time to the popular actor, producer, and former politician. For die-hard Chiranjeevi fans, that’s probably enough to have a good time. But it doesn’t cloak the film’s flaws which unfortunately are too big to overlook.

For starters, “Waltair Veerayya” is a little too ambitious. I like the idea behind it and I certainly don’t knock its scope. But Kolli (who co-wrote the script with Kona Venkat and L. Chakravarthy Reddy) can’t bring it all together in a cohesive way. It’s especially evident in the messy and scattershot second half that gets bogged down in seemingly endless backstory that zaps the movie of its energy. The story structure is clever, but connecting the dots becomes more of a chore that enjoyable.

But its biggest issue comes in the awkward and jarring shifts in tone. The movie really struggles nailing down an identity, haphazardly hopping back-and-forth between blood-splattering violence, playfully romantic dance numbers, grim tragedies, and stretches of silly slapstick. It’s a pretty bold and challenging move to try and incorporate all of those things into your movie. But if they don’t come together well, you end up with a film constantly at odds with itself. Sadly, that’s often the case with “Waltair Veerayya”.

Those are issues I never could shake, but that doesn’t mean the movie is a dud. In fact, there were several moments where Kolli had me fully onboard with what he was doing. And while the second half is messy, the way Kolli brings it together in the final act gives you a better appreciation of what he was going for. Minus a few slow patches (mostly with the attempts at comedy), the first half is especially good at setting up the story and introducing key characters. It definitely sets things on the right track.

When a Malaysian drug lord named Michael Caesar (Prakash Raj) sends his henchmen to Vizag to bust his younger brother Solomon (Bobby Simha) out of jail, it ends in a gruesome police station massacre. The inspector in charge, Seethapathi (Rajendra Prasad) is relieved of his duty, but remains determined that justice be served. So he hires a notorious smuggler Waltair Veerayya (Chiranjeevi) to travel to Malaysia and extradite Caesar back to India to pay for his crimes.

It’s a good setup, but it’s not without its hiccups. Every so often, the movie gets sidetracked with these wacky scenes that almost play like sketch comedy. The feel so detached from the crime story at the movie’s center. Worst of all, they make it hard to get a grasp on who Waltair Veerayya is supposed to be. One minute he’s a gritty, intimidating, violent force; the next he’s a bumbling oaf. Not only do these scenes clash with the story, but they almost play like a showcase for Chiranjeevi rather than a tale of Waltair Veerayya.

Still, Chiranjeevi has plenty of charisma, and whenever the movie is focused, he makes for a good protagonist. The film is also helped by some good and sturdy supporting work. Seasoned actor Prakash Raj is no stranger to ‘bad guy’ roles, and he’s a perfect fit here. Shruti Haasan is terrific as a hotel guest relations manager who may not be who she claims to be. And Ravi Teja brings a needed swagger to the second half playing Police Commissioner Vikram Sagar who we learn has a special connection with Veerayya.

Aside from some rocky storytelling and a wildly inconsistent tone, “Waltair Veerayya” can still be entertaining. There are plenty of twists, turns, and double-crosses. There’s enough stylishly choreographed action to keep things lively, and the dance numbers (on their own) are enjoyable. If only it all gelled. If only the grim and violent didn’t clash with the silly and whimsical. If only it did as well telling its story as it did showcasing its star. “Waltair Veerayya” is now showing in select theaters.

VERDICT – 2.5 STARS

REVIEW: “Missing” (2023)

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13

I went into the new tech thriller “Missing” without doing any research whatsoever. What little I knew came from one trailer and a TV spot. From that small sample, I immediately likened “Missing” to a spiritual successor to the 2018 film “Searching”. The similarities were impossible to miss. So I guess it shouldn’t have come as a surprise to learn this is indeed a standalone sequel to “Searching”. The more you know…

“Missing” marks the directorial debut for Nick Johnson and Will Merrick. It’s written by Aneesh Chaganty and Sev Ohanian, the duo behind “Searching”. Both films share a similar DNA. That is, their stories are told entirely through technology – phone calls, text messages, FaceTime, home movies, security cameras, web browsers, search engines, social media, etc. It’s quite the undertaking.

Image Courtesy of Sony Pictures

Remarkably, Johnson and Merrick (along with their superb editors, Austin Keeling and Arielle Zakowski) piece it all into a taut fast-paced virtual mystery that kept me glued to the screen. Woven into its genre movie fabric are themes of emptiness, regret, coping with loss, and mother/daughter relationships among other things. The movie doesn’t dig too deep into them, but the filmmakers give us enough to earn our emotional investment. That proves to be vital and a key reason why “Missing” isn’t just a “Searching” knockoff.

A really good Storm Reid plays June Allen, a rebellious 18-year-old who lives with her mother Grace (an equally good Nia Long). Life has been tough for June since losing her father to a brain tumor, and her grief has taken a toll on her relationship with her mom. As a result Grace and June have moved from San Antonio to Van Nuys, California in hopes of making a fresh start. Unfortunately, despite Grace’s best efforts, the tension between them has only gotten worse since going to the West Coast.

Lonely and needing some time away, Grace takes a trip to Columbia with her boyfriend Kevin (Ken Leung). But when June goes to LAX a few days later to pick them up, they never get off their plane. June immediately starts trying to reach her mom, but neither she or Kevin answer their phone. She finds even more disturbing news when she calls the hotel in Columbia and discovers all of their luggage is still there. June knows something’s wrong, but what do you when you’re 1500 miles away and in another country?

Desperate and worried, June seeks help. But her search for answers is quickly slowed in a mire of government red tape. So using her own technological know-how, she does some cyber-sleuthing in hopes of piecing together what has happened to her mother. As the mystery unfolds, June is assisted along the way by a handful of characters including her mom’s lawyer friend Heather (Amy Landecker), FBI Agent Elijah Park (Daniel Henney), and Javier (Joaquim de Almeida), a low-rent TaskRabbit investigator on the ground in Columbia.

Image Courtesy of Sony Pictures

There turns out to be a lot of moving parts, and they fit together pretty well. Meanwhile the story zips along at such a pace that we rarely have much time to sit and think, which is probably a good thing. And to keep things brewing, Chaganty and Ohanian throw several fun twists our way, especially early on. But the later twists push things a little too far. That’s when the story goes a bit bonkers and the tension moves from organic to more programmed.

At the same time, “Missing” has several small touches that land well. Take the tender moments where June watches an old video of her father (Reid sells them well). Or when the movie takes some funny jabs (and a few barbed ones) at today’s social media and internet culture. But the film’s biggest strength is found in its keen ability to keep its audience hooked on every virtual detail. Combined with the strong performances and creative premise, it makes for a kinetic ride that’s every bit as absorbing as it is silly. “Missing” opens in theaters today.

VERDICT – 3.5 STARS