![]() ![]() Stanley Kubrick called it the most terrifying film he’d ever seen, although maybe he was just flattered by the way Sluizer began his movie with an overhead, bird-of-prey shot of cars on a highway, evoking Jack Torrance’s winding mountain drive to the Overlook Hotel.Īs its English-language title suggests, Spoorloos is a chronicle of a disappearance. In truth, it’s hard to watch any thriller that pivots around kidnapping as a plot point without thinking of Dutch director George Sluizer’s brilliant The Vanishing ( Spoorloos), which turns 30 this fall and is currently streaming on FilmStruck (it was previously released on DVD by Criterion, a sign of its modern-classic status). ![]() ![]() It’s also a good excuse to revisit a film that’s part of Searching’s DNA, even if the newer movie doesn’t contain any direct references to it. The solid box office success of Searching this past weekend can be taken as a sign of several things at once: the importance of good reviews for smaller releases the continued viability of the now omnipresent, Russian-sponsored desktop aesthetic and, as John Cho himself implied on Twitter, a ripple effect in the larger box office demographic shift. ![]()
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