What to watch: ‘Missing’ is gripping but fails to stick the landing

Family matters — sometimes resulting in fatal consequences — figure prominently in many films coming out right now.

Here’s a rundown of new releases in movie theaters and on streaming platforms.

“Missing”: When Aneesh Chaganty’s screen-shot thriller “Searching” came out in 2018, the novelty of its central conceit never wore out its welcome as it presented John Cho a real chance to shine as a desperate dad searching for his daughter. Chagantay, who was raised in the South Bay, co-wrote the terse, clever screenplay along with Sev Ohanian, and the result was an intense mystery. Now comes a very familiar “stand-alone” sequel, which too sets the action only on computer and phone screens, apps and social media platforms to relate its story about a mom (Nia Long) who vanishes while on a vacation to Colombia with her suspicious internet boyfriend (Ken Leung). Upset about the sluggish investigation, a tech-savvy teen-aged daughter (Storm Reid) does her own snooping and dredges up dirty secrets from those around her. Sticking to the same sort of twists as the original (one expertly done), directors Nicholas D. Johnson and Will Merrick pace the film breathlessly but botch the ending, which, on closer inspection, doesn’t make much sense. The first half of “Missing” is better than the second, partly because the later revelations — while providing a few shocks — make you wonder why characters acted the way they did originally. “Missing” runs too long but mostly achieves what it sets out to do. Yet it seems better suited to be watched on home screens vs. movie screens. Details: 2½ stars out of 4; in theaters Jan. 20.

“When You Finish Saving the World”: Jesse Eisenberg’s directorial debut is just as brittle and bracing as many of his performances. But the multi-talented actor, who also wrote the screenplay, shows a lot of compassion for his two main characters: social worker mom Evelyn (Julianne Moore in an iridescent performance) and her singer-songwriter/vlogger teen-aged son Ziggy (“Stranger Things’” Finn Wolfhard). Constantly at each other’s throats, the two ignore the obvious — they’re very much alike. Both seek to fill the void that exists between them, with Eveyln displacing her attention and affection onto Kyle (Billy Bryk), the kind, teen-aged son of a domestic abuse survivor. Ziggy turns to a political super-smart student (Alisha Boe). Eisenberg’s adaptation of his own 2020 audio play is acutely observant of these sometimes flailing characters who can’t seem to understand that what they’re looking for is right in front of them. Details: 3 stars; in select theaters Jan. 20.

“My Sailor, My Love”: The treacly title suggests you’re in for an ugly cry. And you kind of are, except that Klaus Härö’s gentle and special family drama has much more at play than rote tear-jerking. Magnificently shot and acted, this joint venture between Ireland and Finland is at its best in its rich interplay between three characters, each grappling with the fragile in-flux dynamics of caregiving and an unexpected later-year romance. Cranky former sea captain Howard (James Cosmo) lives alone in a messy, broken-down home near the rugged Irish coastline. He’s at a tipping point of requiring more care, a development that his long-suffering and bitter daughter Grace (Catherine Walker) resents but needs. When she hires Annie (Brid Brennan) to become a housekeeper, one relationship blossoms while the other begins to wilt. “Sailor” is filled with sage wisdom and vulnerable people struggling to do the best that they can even when they are at their worst. It’s a lovely indie. Details: 3 stars; opens Jan. 20 at the Orinda Theatre.

“The Son”: Given the talent involved and Florian Zeller’s remarkable debut feature, “The Father,” it’s baffling how this tonally awkward and blatantly manipulative follow-up went wrong. Hugh Jackman works hard to breathe life into this film, even breaking out in a dance move. He plays harried lawyer and new dad Peter, a workaholic who tries to become a father figure to emotionally troubled, forgotten and distanced son Nicholas (Zen McGrath). Ex-wife Kate (Laura Dern) pops up urging Peter to help out once Nicholas goes missing. Nicholas eventually moves in with Peter and his new love Beth (Vanessa Kirby) and their baby. “Son’s” theme about generations of bad fatherhood getting handed down holds great potential. But the dialogue the award-winning Zeller and co-screenwriter Christopher Hampton give the characters sounds phony and contrived while the ensuing drama is clumsy and clumpy, too preoccupied in making us want to bawl our eyes out. Tears need to be earned, and “The Son” fails at that. A saving grace is a lightning-bolt turn from Anthony Hopkins — who won an Oscar for his performance in “The Father.” He interjects venom and bite as Peter’s unsentimental, drag-you-through-the-dirt honest poppa. His brief scene with Jackman suggests there’s a worthwhile film wrestling to wiggle its way out of this mess. It’s a most unfortunate miscalculation. Details: 1½ stars; in select theaters Jan. 20.

“Alice, Darling”: In director Mary Nighy’s astute drama, a singular intention to illustrate how hard it is to break from an emotionally abusive relationship gets painstakingly realized. It’s hardly an easy watch, but there’s a relevant, resonating and necessary film here. Nighy’s drama speaks with a sense of lived-it authority and clarity. It also features four fantastic performances. Primary amongst them is Anna Kendrick as conflicted Alice. Her mercurial artistic boyfriend Simon (Charlie Carrick) controls her every move and thought, until a getaway with her two concerned besties (Kaniehtiio Horn and Wunmi Mosaku) leads her to a reckoning. Details: 3 stars; opens in theaters Jan. 20.

“There’s Something Wrong With the Children”: This efficient, effective “Bad Seed/Children of the Damned” bit of nastiness creeps you out and comments slyly about bad parenting. A product of the recent Blumhouse and EPIX eight-picture deal, “Wrong” sends two self-involved couples, one with two kids, the other without, into the isolated woods for a boozy vacation where sex secrets get spilled and the two precocious kids start acting up after they enter a cave. The sister and brother team torment the bejesus out of unstable Ben (Zach Gilford of Netflix’s “Midnight Mass”). The ace in the hole here is Gilford, so good when he’s coming unraveled. Director Roxanne Benjamin never allows “Children” to overstay its welcome, resulting in a scare package worth seeking out. Details: 3 stars; available now on streaming platforms, available March 17 on MGM+.

“Sick”: The Peacock streaming service joins in on the horror resurgence by taking a bloody stab at a COVID-themed slasher. And it works. Kevin Williamson — who wrote the original “Scream” as well as “I Know What You Did Last Summer,” among other hit films and TV series — is a co-screenwriter and co-producer here and proves he’s an undisputed pro at the thrilling and the killing. “Sick” confines most of its bloodshed — except for the “Scream”-like opening — to an isolated family house where two teen-aged friends (Gideon Adlon and Beth Million) go to hole up and escape the quarantine. Then some uninvited types suddenly appear. “Sick” is a slick shot of horror, fast-paced and written with just enough biting commentary to make it a cut above. Details: 3 stars; now streaming on Peacock.

Contact Randy Myers at [email protected].