Panic in Year Zero (Ray Milland, 1962). This Cold War drama, one of a handful of films directed by Ray Milland, takes a fascinating approach to its tale of U.S. society in the immediate aftermath of nuclear weapons leveling a few major cities. Milland plays the patriarch of a family that’s off to a fishing weekend when the bombs fall, and he sternly leads them through a survivalist withdrawal from the increasingly tense social breakdown across the land. Milland’s visual sense is fairly stiff and clumsy, but the screenplay — co-credited to John Morton and Jay Simms — is psychologically astute in its depiction of rapid erosion of morals and national camaraderie as self-preservation takes preeminence. Far from alarmist or sensationalistic, the film is quietly insightful and thoroughly convincing.
Searching (Aneesh Chaganty, 2018). Usually a similar technique to the horror film Unfriended, director Aneesh Chaganty’s feature debut confines its perspective to material that appears on a computer screen. In Searching, John Cho plays David Kim, whose daughter, Margot (playing primarily by Michelle La), goes missing, sending him on a desperate scramble through her online history to determine what malfeasance might have been perpetrated against her. There are clever elements, including spot-on depictions of the sometimes destructive ways information travels across web-based platforms. Cho is very good in the lead role, but the performances are shakier across the supporting roles, especially when they’re relying on just voicework, as if Chaganty neglects to value the importance of emotional veracity when the dialogue is delivered in a recording booth rather than before a camera.
Stronger (David Gordon Green, 2017). This adaptation of the memoir of Jeff Bauman (Jake Gyllenhaal), a survivor of the bomb attack at the 2013 Boston Marathon, wavers between daring authenticity and numbingly familiar biopic beats. Director David Gordon Green is leans toward the unsparing in depicting the physical and emotional trials enduring by Jeff after his proximity to the explosion results in the amputation of both of his legs below the knees. And Gyllenhaal is more than game to writhe in rage and agony, honking his lines in a thick Boston accent. The script and the performance both lack the depth needed to lend authenticity to Jeff’s eventual, inevitable healing and conversion into a better person. The result is a work that is well-meaning, professionally rendered, and hollow at its core. Tatiana Maslany does nicely understated work as Erin, Jeff’s long-suffering girlfriend.