Johnson and Will Merrick pull it off in increasingly surprising ways up to Missing’s very last moments. It’s an impressive feat to make sure all this camera work is never annoying and doesn’t call attention to itself, but debut directors Nicholas D. The framing of shots that play out via webcam or video feed is creative and organic, and gives the movie a genuine air of suspense that makes us feel just as helpless as June does with her remote investigating. It’s a refreshing change from the versions of the internet in other thrillers and never falls prey to their comical depictions of “hacking” or pretending their characters are tech geniuses. We even get clever phishing scams designed to entrap boomers, and some clever account manipulation that feels grounded enough to work. It understands there are livestreams of most bustling public places at any given time, or that a Tasker or other gig app worker is a good way of being somewhere without having to physically go there. Missing is a movie that’s confident on the internet. This is where the movie’s cleverness really shines through. This isn’t the first movie to present its plot almost entirely through a screen, but it does take a more varied approach and changes locations more often than movies like Unfriended or its superior sequel, Unfriended: Dark Web. Everything in Missing comes straight off a screen, including all the detective work that June does. Scenes play out in Photo Booth windows, FaceTime calls, security footage played off a computer screen, video chats, or internet browsers. Missing’s real hook is that it’s told entirely through the on-screen displays of the devices that are in front of us every day. This premise may sound simple, but that’s by design.
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