The 2024 version of Amber Alert feels like déjà vu wrapped in a more polished package. Directed by Kerry Bellessa, this new iteration revisits the premise of its 2012 predecessor but with a shift away from the found footage format. In many ways, it feels like Bellessa is trying to redeem a story that never quite lived up to its potential the first time around. And while the 2024 version is certainly an improvement in some areas, it still struggles with the same issues that held the original back. Despite the fresh approach, Amber Alert never fully escapes the pitfalls of a premise that just can't seem to find its footing.
The plot centers on the disappearance of an 8-year-old girl, Charlotte, who vanishes from a park while playing hide and seek with her brother. Her mother, in a panic, spots a black car in the background of a video she’s filming and immediately calls the police, fearing the worst. Meanwhile, Jaq (Hayden Panettiere) flags down a rideshare driven by Shane (Tyler James Williams), and the two happen to receive the Amber Alert on their phones. When they think they spot the car involved, they call the police and decide to pursue it, becoming unofficial detectives in the process. What ensues is a tense, chaotic chase as they desperately try to track down the car and save the girl before it’s too late.
The setup has potential—it’s compelling to watch two ordinary people become swept up in a crisis, especially when they’re driven by such urgent motives. Panettiere and Williams share a natural chemistry that makes their interactions feel genuine, which is crucial when the story relies heavily on the characters' motivations to sustain the tension. Shane, initially reluctant to get involved, is slowly drawn in by Jaq’s passion and sense of urgency. Panettiere brings depth to her role, managing to balance the fear and determination that come with the responsibility of trying to rescue a missing child. Williams is equally effective as the more cautious Shane, whose transformation from bystander to active participant is believable. They both work well together, elevating the material from what could have been a standard thriller into something more human.
But even with strong performances, the film struggles with pacing and structure. The movie’s attempt to balance personal backstories with the main plot often feels unnecessary. Jaq’s troubled past, which the film spends time developing, doesn’t seem to add much to the emotional weight of the story. While it’s clear the filmmakers want us to empathize with her, her backstory feels more like an afterthought, a forced attempt to deepen her character. In fact, the entire subplot of Jaq’s personal life can be distracting, pulling focus from the main story. We don’t need to know everything about Jaq to feel for her when she becomes invested in Charlotte’s case. Sometimes, less is more, and Amber Alert would have benefitted from stripping away the extraneous details and focusing more on the urgency of the situation at hand.
The cinematography, on the other hand, is a bright spot. Cinematographer Luka Bazeli makes effective use of drone shots to emphasize the vastness of the chase. It’s a striking visual that underscores the sense of isolation Jaq and Shane feel as they pursue the car. While drone shots can be overused in modern films, Bazeli uses them strategically here, highlighting the tension and impossibility of their quest. That said, I couldn’t help but think about how much more grounded the film could feel with more traditional shots. The helicopters in classics like Dog Day Afternoon brought a level of realism that drones, for all their impressive visual appeal, can’t quite replicate. It’s a small but telling detail that reflects the broader difference in style between the two films.
However, Amber Alert starts to unravel in its final act. As the tension escalates, the film begins to lose its grip on the viewer’s suspension of disbelief. The characters' actions grow increasingly reckless, and the story devolves into a series of forced thriller tropes. Jaq and Shane’s decisions become more and more absurd, to the point where their motivations feel less authentic and more like an attempt to check off the required boxes for a thriller. The final confrontation is predictable, and rather than feeling like a natural culmination of the film’s tension, it feels like the filmmakers are simply following a formula.
Despite its best efforts, Amber Alert never quite manages to reconcile its ambitions with its execution. The film wants to be a thriller that also explores the significance of the Amber Alert system, but these two goals never come together in a meaningful way. The title cards at the end, which provide a brief history of the Amber Alert system, feel tacked on—like the filmmakers were trying to justify the film’s existence beyond just being another chase thriller. In the end, the film doesn’t succeed at either being a compelling thriller or a thought-provoking commentary on the Amber Alert system. It’s a well-intentioned movie that falls short of its potential.
Ultimately, Amber Alert is a film that’s difficult to recommend wholeheartedly. While it’s an improvement over its predecessor, it still doesn’t quite manage to break free from the narrative traps that held it back the first time. It’s a story that’s been told before, and while there are moments of suspense and strong performances, it’s not enough to make it feel fresh or original. The 2024 version of Amber Alert is a missed opportunity—one that could have been much more engaging if it had stuck to its strengths and avoided the needless complications of character backstories and forced plot points.
If you’re a fan of thrillers, you might find something to enjoy here. But for those looking for something that really explores the power of the Amber Alert system or delivers a truly suspenseful ride, Amber Alert may leave you feeling unsatisfied.
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