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The pseudo suspense piece “Come And find Me” does not quite hit the mark, and it is important to make that clear right from the start because the premise itself is not necessarily unworkable, nor the cast bad or the direction indifferent, or the scenario foolish. The reality is that it is altogether more intelligent than what you are likely to assume of a two-star rated film. Yet, “Come and Find Me” does not have enough creativity or the resources of finish to be engaging. “Breaking Bad” actor Aaron Paul plays an endearing average Joe who, after his girlfriend’s unexplained year-long disappearance, realizes she is not who he thought she was. But these are just the raw ingredients. But there is no more to “Come and Find Me” than a shallow investment in the central characters’ romance.
Paul assumes the role of David, a graphic designer who is deeply determined to discover the whereabouts of his girlfriend, Claire (Annabelle Wallis), after her abrupt disappearance. David is short on clues, but he eventually uncovers a roll of undeveloped film that brings an array of not-so-friendly people from Russian gangsters to government agents stampeding to his door.
But keep this in mind: romance comes first and suspense follows. As a result, “Come and Find Me” highly revolves around David’s recollections of Claire. These accounts include David and Claire’s life together chronologically from when they met to when they had their first serious argument. In these scenes, there are signs of Claire’s concealed double life that appearingly have no need for solve. Rather, writer and director Zack Whedon reveals to us is the couple’s intimacy as a way of portraying David’s healthy devotion to the relationship. That aspect cannot be overlooked because David happens to be repeatedly let down by well-intentioned strangers who purport to know Claire, or know something about her. Much of Whedon’s history is flashback drama, but these flashbacks are the metaphors behind David’s vexed attempt to gather information.
The constant series of strange altering flashbacks stalling all the attempts to blend all the pieces of the puzzle to develop a cohesive plot makes it increasingly difficult to comprehend the pieces of the plot. There seems to be very little chemistry between Wallis and Paul, making this attempt increasingly frustrating. This shattered collection of puzzle pieces is partially the outcome of improper direction and a major case of absence of sparks. When Wallis and Paul first make out, they are meant to seem awkward, but giddy due to Claire’s overly clumsy energy. The scenario is completely riveting she presumes David follows her from the bus which isn’t true; he does inhabit the same building as her. Apparently, she does indeed collar him, submerging her face into his, much like a highschool mascot with zero comprehension of the action. As the movie progresses, the couple shares another kiss, but this time, her aggression doesn’t seem supported by love. And this is where things turn confusing. They do not appear to be romantic anymore, which leads us to question how it is the couple managed to learn literally nothing throughout the course of the movie.
A couple of very interesting ideas are brought on by Whedon, but unfortunately most of them lack follow through.
He records Paul at a relatively less evolved or uninspired fashion with a combination of wide and medium shots. At no point does Whedon articulate any of the characters’ fears of intimacy during David’s many flashbacks. When we see David and Claire flirt, it is when they are jointly painting their first apartment and while engaging in the grand activity, they end up defacing the ceiling with insults in the style of bathroom stall graffiti. After that, we see them clash when she inexplicably returns home in a foul mood while he chooses to sleep on the couch. And then, we see them attempt to reenact their first meeting thinking that will add some excitement to their love lives. However, none of these episodes reveal anything important about Clair and David other than a cyclic and simplistic seasonal shift that is quite mysteriously resolved by the end of the movie. I won’t tell you what occurs, but I will state that there is excessive reliance upon the representational language of romantic love for the film’s central issue. The dialogue in scenes where she pokes fun at him could be much stronger, however, with a little bit of imagination, a better director would have focused on the shy glances, twitching limbs, and Paul and Wallis’ exchanged playful glares.
But Whedon is not that filmmaker. I wish he was because Paul delivers an exceptionally subtle yet brooding performance, although one we have seen him give a hundred times before in everything from indie drama ‘Smashed’ to a big-budget action-adventure movie, ‘Need for Speed.’ Wallis doesn’t have much of a role since is supposed to be elusive, but she does well enough with what few lines she has. The main issue is Whedon’s lack of will to create something new. The film’s start and stop movement pace would not be so bad if he managed to nail at least any one part of it.
But Whedon even manages to drop the ball when his film’s attempt at thriller is in full swing, serving up a bare minimum of boring chase scenes and far too many lackluster, so-called confrontational scenes between David and every two faced ‘good guy’ he is able to summon. “Come and Find Me” consists a large amount of foreboding that what will happen next is far more entertaining than what the actual means to an end, but it ultimately runs out of gas and winds up taking the path of least imagination.
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