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Searching (2018) - Movie trivia: Makeup wrinkles
John Cho was 46 (47 in Korean age) at the time of the interview.
#john cho#searching movie#userbbelcher#filmedit#film#filmtv#guess john cho's age#behind the scenes#movie#searching#gif#interview#choverlord#my edit#john cho trivia#makeup wrinkles#searching the movie#aneesh chaganty#sev ohanian#tv film#missing the movie#missing movie
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In a way, this reminds me of Christopher Nolan’s Inception. The quick-paced way it keeps introducing new information and twists, to distract us from the contrivances. Even the score is reminiscent of Hans Zimmer’s (a favorite collaborator of Christopher Nolan) Interstellar theme.
I haven’t seen Searching(which this is the spiritual sequel to) yet, but this piqued my interest.
Missing is a 2023 American screenlife thriller film written and directed by Will Merrick and Nick Johnson (in their feature directorial debuts) from a story by Sev Ohanian and Aneesh Chaganty, who also produced the film with Natalie Qasabian. The film is a standalone sequel to Searching (2018). It stars Storm Reid, Joaquim de Almeida, Ken Leung, Amy Landecker, Daniel Henney, and Nia Long.
#missing#run#searching#storm reid#joaquim de almeida#ken leung#amy landecker#daniel henney#nia long#screenlife#thriller#aneesh chaganty#movie review#2023
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Missing (dir. Nick Johnson & Will Merrick).
[Its] first half is mostly a lot of sophisticated thriller fun commenting on the true crime genre's influence on culture from the point-of-view of a savvy zoomer. When things get cooking towards the climatic third act, so many logic-defying beats descend into a non-sensical series of truly baffling series of events more in line with cheap horror tricks that betrays the tight missing person drama it starts off as.
#missing#missing movie#screen gems#stage 6 films#storm reid#nia long#screenlife#ken leung#sony pictures#searching#will merrick#nick johnson#sev ohanian#aneesh chaganty#joaquim de almeida#amy landecker#daniel henney#movie#movies#movie review#film#film review#cinema#timur bekmambetov#natalie qasabian
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Movie recommendation of the day: Run (2020)
#cinephile#movies#run#horror#horror movies#2020#2020 movies#sarah paulson#Kiera Allen#aneesh chaganty#thriller#thriller movies#suspense#psychological thriller#psychological horror#cinephile community#lionsgate#search party#hulu
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Run is exceptional (to me) with potential to be divisive, but it is also a great example of telling the story of a disabled character while incorporating the disability, but focusing beyond it in terms of story and character development. Equally important, casting a disabled actress was made a point of in the film's production! And you can watch it on hulu!
#horror#horror films#movie review#film review#run#sarah paulson#aneesh chaganty#kiera allen#hulu#disability#disabled horror#disability representation
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서치(Searching, 2018) - dir. Aneesh Chaganty
ⓒWATCHA
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1. 존 조(John Cho)가 겁나 멋있는 아빠로 나옵니다. 부성애 너무 감동적이야. 흑흑. 부모가 자식에게 줄 수 있는 사랑이란 것도 생각해보게 한다. 가장 바람직한 모습은 ‘데이빗’이 딸 ‘마고’를 보호하는 방식이다. 어떤 상황에서든 자식을 포기하지 않고 희망을 잃지 않는 모습, 늘 자식에게 부족한 점이 없는지 찾으려는 모습. 하지만 이런 이상적인 모습과 반대되는 편도 나오거든요? 스포가 돼서 말잇못. 여기선 반대되는 두 모습이 유독 부각됐다. 감독/각본가의 의도겠지. '아니쉬 차간티(Aneesh Chaganty)'라는 사람의 데뷔작인데 와우네. 각본에 이어 감독까지! 신인 감독이기에 예산이 한정되었을 거고 그 예산으로 자신이 만들 수 있는 최고의 역량을 냈다. 똑똑한 감독이고 앞으로 낼 작품들이 기대된다.
2. 전개 방식도 흥미롭고 무작정 밀어붙이는 스릴러가 아니라 부담이 덜했던 것 같다. 100분가량의 속도감 넘치는 전개에 한정된 공간이고, 누굴 막 죽이거나 찌르거나 그런 것도 아니라서. 19세의 스릴러/범죄/액션 등을 섭렵한 영화 팬에겐 굉장히 순한 맛처럼 느껴지더군요. 어쨌든 훈훈하면서도 전해주는 메시지가 명확해서 좋았던. 그리고 중심인물이 딱 정해져 있어서 사건이 중구난방으로 흘러가지 않은 것이 명석한 선택이었다.
3. SNS가 얼마나 무서운지 잘 알았습니다. 그런데 미국은 사이트에 이름 넣고 주소 넣고 돈 부쳐주면(돈 부친 장면도 나온 거 맞나?) 전화번호도 알려주나여. 충격인데? SNS가 사람을 살리기도 하고, 속이기도 하고, 까발리기도 하는 것이 매우 흥미로웠다. 우리나라 ‘아프리카 TV’처럼 미국도 그렇게 개인 브로드캐스팅(Broadcasting) 방송이 있는 것도 처음 알았네. 인스타 라방 같은 느낌인 건가? 무조건 비판적으로 가지 않고 제3자의 시선에서 객관적으로 생각해보게 하는 면도 좋았고.
4. 가장 큰 교훈이라면, 인터넷에서 익명의 사용자를 조심하자! 무슨 짓을 할지 몰라. 물론 착한 사람도 있겠지만 한편으로 어떤 이들은 그 속 뜻이 어떨지 누가 알겠습니까. 안전제일. 위험한 건 처음부터 시작하지 말자는 주의라서.
5. 그리고 가족 간에도 대화가 중요하다는 걸 알고. 여기서 ‘대화’라는 코드로써 다른 얘기로 빠지자면, ‘대화가 중요해’라고 생각하다가도 일상 살다 보면 대화가 안 먹히는 인간들이 꼬오오오옥 있거든요. 대화할 준비가 안 되어 있고 자기 말만 ‘옳다구나!’ 믿는 사람들. 그래서 ‘역시 대화가 중요해’라는 건 소통해서 타협되는 사람들 한정으로 말하기로 했다. 세상에서 대화로 모든 게 해결되면 싸움이 왜 일어나겠습니까. 그래서 (역시 너무 멀리 갔지만) 귀를 닫지 않는 것이 중요하다는 생각도 새삼 들고.
6. 재밌다는 소문은 익히 들었던 작품이고 뭘 볼까 하던 중에 ‘왓챠’ 영화 리스트의 상위권에 있길래 간만에 대다수의 선호도에 맞춰서 보았습니다. 만족스러워. 역시 스릴러는 내게 있어 평타는 친다. 선악이 명확하니까 그런 것 같다. 악한 사람을 포장하지 않는 면에서 고구마 답답과 깊은 빡침을 느끼지 않아도 되니까요. 오랜만에 괜찮게 본 스릴러.
덧.
7. 홀랭. 다음 달(2023년 2월)에 ‘서치 2’가 나오네? 정식 영어 이름은 ‘Missing’. 이번에도 각본은 아니쉬 차간티(Aneesh Chaganty)가 맡았지만 감독은 다른 두 사람이 맡았다. 이렇게 빨리? ‘서치 1’이 대박을 터트리긴 했나 보네. ‘서치 1’과는 별개의 이야기로 간다. 그래서 ‘데이빗’과 ‘마고’의 이야기는 1편으로 끝나고. 2편은 전혀 다른 이야기로. 이렇게 한 편씩 옴니버스(Omnibus) 시리즈로 갈 건가 보다. SNS를 단서로 추적해나가는 형식으로. 이번엔 모녀가 주인공인데 어떤 식으로 추리를 해가려나? 차간티는 아무래도 컴퓨터에 빠삭한 듯하다. ‘애플’ 같은 곳에서 일하셨어요?
8. 아, 그래서 '왓챠'에 이 영화가 갑자기 시청 상위권에 노출되어 있었구만? 2편이 나오면 1편을 사람들이 찾아보는 것처럼 이 영화도 그런 듯. 리뷰 보고 끌리면 저도 2편 보러 가겠습니다.
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Run (2020)
dir. Aneesh Chaganty
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Missing (2023)
"I know you're in summer vacay mode, but do you have a sec?"
#missing#will merrick#nicholas d. johnson#sev ohanian#aneesh chaganty#tim griffin#ava zaria lee#nia long#kimberly cheng
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Searching by Aneesh Chaganty, 2018
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Missing. Movie Review.
It feels a little bit odd to encounter a sequel to a movie that originally felt like a very late addition to a very small but initially, zeitgeist-focused microgenre. Searching stared John Cho as a father searching for his missing daughter with all the action playing out within the confines of various technology apps and programs available. There were so-called “ “screen life” movies ( the two…
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#Amy Landecker#Aneesh Chaganty#Daniel Henney#Joaquim de Almeida#Ken Leung#Lisa Yamadap#Nia Long#Nick Johnson#Sev Ohanian#Storm Reid#Will Merrick
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Interview: Producer Aneesh Chaganty on 'Searching' Sequel, "MISSING
In the anticipation of Sony Pictures’ MISSING which arrives in theaters January 20th, I recently had the opportunity to interview one of the producers of this new mystery thriller, Aneesh Chaganty whom I had previously interviewed before a few years ago for this film’s predecessor “Searching” which he directed.
In our conversation, Aneesh told me the reason as to why he and his frequent…
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#Amy Landecker#Aneesh Chaganty#Daniel Henney#Joaquim De Almeida#Ken Leung#missing#Nia Long#Storm Reid
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Sony's 'Missing' To Highlight How Society Responds To Missing Black Women
Sony's 'Missing' To Highlight How Society Responds To Missing Black Women #MissingMovie #Missing @SearchingMovie
Missing executive producer Sev Ohanian said it’s great seeing this movie with an audience after I told him this would be my first viewing of the film at the special CAPE and Product of Culture screening. And, it was.
From the creative minds of the 2018 critically-acclaimed film Searching, Missing follows the same technological format as its predecessor, filled with unexpected twists and turns…
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#Aneesh Chaganty#CAPE#Missing#Missing Movie#Nia Long#Nick Johnson#Searching#Sev Ohanian#social media#Sony#Storm Reid#Will Merrick
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RUN (2020) ★★★★✮
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i watched 120 new-to-me films this year; here are the posters from a few of my favorites in no particular order!!
faults (riley stearns, 2014)
out of the blue (dennis hopper, 1980)
wake in fright (ted kotcheff, 1971)
entergalactic (fletcher moules, 2022)
histoires d'amérique: food, family and philosophy (chantal akerman, 1989)
the woman king (gina prince-bythewood, 2022)
waking life (richard linklater, 2001)
on the count of three (jerrod carmichael, 2021)
thank you and good night (jan oxenberg, 1991)
i’ll tag @lesbiancolumbo / @draftdodgerag / @localpubliclibrary / @calicoskiesacoustic / @jerrylandis / @columbosunday / @harrierdoobie / @sightofsea and anyone else who’d like to do this!! 🌟
entire watchlist from 2022 is below the cut:
the world to come (mona fastvold, 2020)
nancy (christina choe, 2018)
la bouche de jean-pierre (lucile hadžihalilović, 1996)
run (aneesh chaganty, 2020)
the mosquito coast (peter weir, 1986)
mass (fran kanz, 2021)
a field in england (ben wheatley, 2014)
angels wear white (vivian qu, 2017)
a cape cod christmas (john stimpson, 2021)
shook (jennifer harrington, 2021)
outing riley (pete jones, 2004)
love & mercy (bill pohlad, 2014)
small engine repair (john pollono, 2021)
the fallout (megan park, 2021)
clemency (chinonye chukwu, 2019)
red elvis (thomas latter, 2022)
calendar girls (nigel cole, 2003)
the little hours (jeff baena, 2017)
out of the blue (dennis hopper, 1980)
aya of yop city (marguerite abouet and clement oubrerie, 2013)
fresh (mimi cave, 2022)
jesus camp (rachel grady, 2006)
bamboozled (spike lee, 2000)
master (mariama diallo, 2022)
the world of us (yoon ga-eun, 2016)
jezebel (numa perrier, 2019)
the cat, the reverend and the slave (alain della negra and kaori kinoshita, 2009)
cohabitation (lauren barker, 2022)
the queen of versailles (lauren greenfield, 2012)
secret ceremony (joseph losey, 1968)
the northman (robert eggers, 2022)
the silent partner (daryl duke, 1978)
in secret (charlie stratton, 2013)
the ground beneath my feet (marie kreutzer, 2019)
the man who haunted himself (basil dearden, 1970)
woodlands dark and days bewitched: a history of folk horror (kier-la janisse, 2021)
the miseducation of cameron post (desiree akhavan, 2018)
roadrunner: a film about anthony bourdain (morgan neville, 2021)
karen dalton: in my own time (richard peete and robert yapkowitz, 2020)
fire music (tom surgal, 2018)
histoires d'amérique: food, family and philosophy (chantal akerman, 1989)
fruit of paradise (věra chytilová, 1969)
a different image (alile sharon larkin, 1982)
preparations to be together for an unknown period of time (lili horvát, 2020)
candyman (nia dacosta, 2021)
fan girl (antoinette jadaone, 2020)
chicago 10 (brett morgen, 2007)
pray away (kristine stolakis, 2021)
mavis! (jessica edwards, 2015)
M (yolande zauberman, 2018)
wake in fright (ted kotcheff, 1971)
thomasine & bushrod (gordon parks, 1974)
desire me (released uncredited; jack conway, george cukor, mervyn le roy, and victor saville, 1947)
faults (riley stearns, 2014)
premature (rashaad ernesto green, 2019)
mother joan of the angels (jerzy kawalerowicz, 1961)
the loft (erik van looy, 2014)
the black phone (scott derrickson, 2022)
no exit (damien power, 2022)
nope (jordan peele, 2022)
paprika (satoshi kon, 2006)
our eternal summer (émilie aussel, 2021)
playground (laura wandel, 2021)
not okay (quinn shephard, 2022)
everything everywhere all at once (daniel kwan and daniel scheinert, 2022)
pressure point (hubert cornfield, 1962)
sharp stick (lena dunham, 2022)
on the count of three (jerrod carmichael, 2021)
martha marcy may marlene (sean durkin, 2011)
waking life (richard linklater, 2001)
sicaro (denis villeneuve, 2015)
arrival (denis villeneuve, 2016)
this magnificent cake! (emma de swaef and marc james roels, 2018)
chevalier (athina rachel tsangari, 2015)
young and wild (marialy rivas, 2012)
alice (krystin ver linden, 2022)
shame (steve mcqueen, 2011)
good madam (jenna cato bass, 2022)
black bear (lawrence michael levine, 2020)
speak no evil (christian tafdrup, 2022)
wet sand (elene naveriani, 2021)
the catholic school (stefano mordini, 2021)
poly styrene: i am a cliché (celeste bell and paul sng, 2021)
the violators (helen walsh, 2015)
the woman king (gina prince-bythewood, 2022)
the killing kind (curtis harrington, 1973)
oleanna (david mamet, 1994)
entergalactic (fletcher moules, 2022)
the more the merrier (george stevens, 1943)
primrose path (gregory la cava, 1940)
watcher (chloe okuno, 2022)
enemy (dennis villenueve, 2013)
darlin' (pollyanna mcintosh, 2019)
sissy (kane senes and hannah barlow, 2022)
till (chinonye chukwu, 2022)
black panther: wakanda forever (ryan coogler, 2022)
the hunt (thomas vinterberg, 2012)
the other side of the underneath (jane arden, 1972)
barbarian (zach cregger, 2022)
the intervention (clea duvall, 2016)
sorry to bother you (boots riley, 2018)
the silent twins (agnieszka smoczyńska, 2022)
tahara (olivia peace, 2020)
arranged (diane crespo and stefan schaefer, 2007)
swimming (luzie loose, 2018)
#like (sarah pirozek, 2019)
babysitter (monia chokri, 2022)
chico and rita (tono errando, fernando trueba, and javier mariscal, 2010)
pleasure (ninja thyberg, 2021)
john the violent (tonia marketaki, 1967)
fat girl (catherine breillat, 2001)
lemon (janicza bravo, 2017)
thank you and good night (jan oxenberg, 1991)
what about me (rachel amodeo, 1993)
the KKK boutique ain’t just rednecks (camille billops and james hatch, 1994)
sun don’t shine (amy seimetz, 2012)
zero fucks given (emmanuel marre and julie lecoustre, 2021)
piggy (carlota pereda, 2022)
ladyworld (amanda kramer, 2018)
wolf's hole (věra chytilová, 1987)
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I wanted to add on something to what you and anon discussed a few posts ago about TZP rejecting roles due to unhealthy stereotypes because it reminds me of my constant, undying adoration for the actor John Cho. John Cho who is ethnically Korean (and admittedly bad at speaking Korean lol), who refuses to take on any role which requires him to do a fake Asian accent and who is successful in spite of the odds.
TZP kind of reminds me of him, come to think about it. Well-dressed, well-spoken and always presents themselves well too. And coincidentally, John Cho was 32 when Harold and Kumar came out, the same age that TZP was during RWRB's release. I hope TZP sticks to his guns and that the opportunities that he wants come through his way, as he undoubtedly deserves ♥️
I was going to say I'm not familiar with the name, but I actually am! I'm not sure Harold and Kumar was that popular in France so I don't really know the impact of it but I did see John Cho in the movie Searching, that was such an interesting film with a unique storytelling. And even more interesting because it was the first movie of its director Aneesh Chaganty. I definitely recommend it if you haven't seen it.
I'm not exactly answering your message but that's the only way I know about John Cho but since he sounds like a good guy, it's not out of place to do a little shout out for one of his work 😁
Thank you for sharing and your lovely message 💜
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RUN MOVIE REVIEW
This plot isn't original. It’s a risky plot to tackle, but not a risk that hasn't been taken before. However, if you have a Hulu subscription, you're just cheating yourself if you haven't watched this movie. Here’s why I think that.
You’ll be able to see the direction this film is headed within the first ten minutes. It spoon feeds the audience quite a bit of information throughout the entire run time. This is the second feature collaboration between director Aneesh Chaganty and his co-writer, Sev Ohanian. They are coming off the wildy successful ‘Searching’. In this movie, they have more to play with as far as set limitations. The narrative is focused on the two lead characters. Sarah Paulson is the mother and Kiera Allen is the daughter confined to a wheel chair. I’m going to get this out of the way; the performances by these two are what made the movie. The reason the movie isn't entirely forgettable is because of the acting. Where the writing might have seemed ‘whatever’, they sold the tension, and I was feeling it by the emotions they were conveying. Very well done.
It seems like the cinematography starts off with light greens and blues and gets darker as the movie progresses. Diane Sherman (Sarah Paulson) starts the movie off in a support group telling the cast of people that she’s happy for her daughter to go out into the world and grow up and have opportunities. The indication out of the gates implies that she in fact is not down for that. The vibes get creepier as the story progresses. The direction and execution of what they had was done very well. Yet, I was left with some emptiness thinking they could have done a little more with the premise.
FINAL THOUGHTS
This has ‘Misery’ vibes by Stephen King for sure. I got a lot of King vibes towards the end of the film too when the action starts to amp up and things get a little wild. During all the scenes where we discover just how f’d up her mom really is; I enjoyed the tension of those. We feel like we can't walk, easy to put yourself in the shoes Kierra Allen’s character, the tension is real and in that aspect the movie worked.
I don't think the last act was bad by any means, but I feel like the plot just went in every direction you would expect. The acting between these two ladies was spot on, because of that I think this movie would have fit just fine in theaters. It would have been one of those movies you walked out slightly disappointed by, but by no means would I have felt cheated out of money. So if you have Hulu, give it a try.
#book blog#writing#new writers corner#writers on tumblr#movie#movie review#Hulu#film#film addict#so hot 🔥🔥🔥#spookyseason#spooky#halloween movie#halloween#happy halloweeeeeeen#writers and poets
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