Criticism | ‘Megan is Missing’ is cinematic atrocity and offensive social bad service


The controversial film ‘Megan Is Missing’ has gone viral again on social media after gaining a platform on the TikTok app, prompting several people to watch or revisit the psychological terror led by Michael Goi. Developed as an independent work in 2006 – on a budget like ‘Blair’s Witch’ – the feature was banned from several countries and ended up being postponed to have a limited debut five years later, finding a strong reaction of explicit graphics, despite the important theme evoked, that of the danger of sexual predators and pedophiles on the Internet.

The story, loosely based on the story of Ashley and Amanda, two fourteen-year-old girls who were kidnapped and found dead weeks after their disappearance. Both were sexually tortured and targeted by a psychopath, suffering for days before being murdered – and, years after the actual events, Goi decided to bring his own side of the story to the big screen. The result was well below what was expected (and “below”, in fact, is a compliment to the cinematic atrocity of the iteration): the director’s artistic taste is quite questionable, and not for the aforementioned aesthetic choice, since the sub-genre has already done quite well alongside the 1999 mockumentary fellow, falling out of favor due to an excess of formulas that have become predictable and pedantic over the years. With the exception of the clever and raw “Amizade Desfeita” and the prodigious thriller “Buscando…”, the choice of the images found was an understandable, though unbalanced articulation of doing what is possible on a limited budget.

But the structure is far from the worst aspect of the film. Megan (Rachel Quinn) is a popular girl who has always slapped her face and has several friends. Considered by everyone to be “the soul of every holiday,” she met a guy named Josh (Dean Waite) via virtual interaction platforms and, shortly after meeting him, was kidnapped, taking her her best friend, Amy (Amber Perkins), trying to find out what really happened. However, Amy ended up speaking to the police about Megan and Josh’s encounter and, days later, she was also abducted and thrown into moments of terror and torture until she was buried alive in next to her friend, confined in an empty sealed petrol tank. However, the exhaustion of discussions important to contemporary society, which are crying in the spotlight even nine years after the film’s official debut, is completely marred by a distorted and unnecessary shock attempt like a poor sociological mask.

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“Traumatizante” is an adjective that does not clearly reflect how horribly this film is made, as many users of the app mentioned in the first paragraph have characterized the work. The script, also signed by Goi, is part of such a simple and cliché construction that it is fun to imagine (with a high percentage of success) the consecutive events; as if that weren’t enough, the weak narrative, which drains almost no inspiration from the actual plot, gives no support to a first-time cast that doesn’t even try to deliver emotion. Quinn even manages to do an average job like Megan, but she plays a character who, as “cute” as she is with Amy, making sure she doesn’t get carried away by the bad influences of teenage-driven teenagers. drugs and alcohol, is boring, pedantic and forced. Perkins, on the other hand, doesn’t seem to have the slightest tact in expressing his emotions – and the fact that he’s underage at the time of the recordings didn’t make the experience any more enjoyable.

It is almost unnecessary to mention the presence of supporting characters and extras who do not contribute anything to the production – appearing in unreal sequences, groundless dramatizations and a spark of humanizing stereotypes that seems to have left the mind of Tommy Wiseau. No aspect of the relationship between the two main characters or their struggling families is taken beyond a cheap one-dimensionality that leaves no room for any insurgency of viewer-bonding – indeed, we eagerly await the moment. where things are going to intertwine and come out. mediocre daily life of any unimportant middle-class teenager in the United States.

Nothing compares to the hype in the film’s final 22 minutes. When the sign transitions announce that audiences will be watching the final moments of the two girls, no one really believes that the feature film’s concluding act will be this. Amy is the only one still alive, and as soon as investigators find a video camera thrown in a trash can, everything is shown: Amy is raped, locked in a dirty cell, becoming a ragged animal before thrown into a barrel next door. of her friend’s skeletal corpse and ultimately buried and left to die seven feet away. Words are not enough to explain how offensive Goi’s decision to create a torture showcase was, completely oblivious to the danger these scenes would be for the sexual psychopaths lurking among us – even more clearly indicating that the characters are smaller deity.

Missing Megan (2011)
Amber Perkins and Rachel Quinn in Megan Is Missing (2011)
Credit: Trio Pictures

“Megan Is Missing” is not just total social disservice, unaccompanied by trigger warnings and extreme violence without any empathetic concerns; it is, in itself, a cinematic atrocity that would be best exhibited in a classroom on how not to make movies.

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