Review of Midnight Special (2016) by Phillip M — 15 Apr 2016

If there is anything to take away from Midnight Special, it is that this movie is quiet and serious. It is a film that takes its time and doesn't feel the need to rush along, deliberately slackening its pace where it could have easily crescendoed into a thrilling, nonstop set piece after set piece second half. It doesn't, however. It employs its calculated pace with a serious tone, a tone that is somewhat uplifted by small but humourous touches and moments, yet the atmosphere remains, never being betrayed by its naturally amusing scenes. Finally, while Midnight Special is quiet, serious, and slow, it is not devoid of action, but more importantly, its visceral flourishes are not solely provided by the numerous action sequences, but by the ever present heart Jeff Nichols has injected into his latest film.

Midnight Special is a simple movie, in its ideas and in its storytelling, but its simplistic approach is bolstered by the mystery that surrounds its protagonists. Stripped down to its core, you could say Midnight Special is a chase movie. Roy (Michael Shannon), his enlisted chauffeur/bodyguard and long-time friend, Lucas (Joel Edgerton), with whom he only recently reconnected after years of separation, and his son Alton (played by relative newcomer Jaeden Lieberher) are travelling across states to get to a predetermined location where Alton desperately needs to be on a certain day and time, all the while being tailed by various parties. Put simply, they need to get from point A to point B without being intercepted. But it is the 'why' that keeps us intrigued.

The 'why', however, is not revealed until part way through, but what we do know is that Roy and Alton have abandoned a religious cult that believes Alton is their savior; resulting in the police, FBI and aforementioned cult to follow their moves; and that Alton is capable of shooting beams of light from his eyes. The meaning of his mysterious powers is not completely addressed, though it is lightly discussed in minimalist of ways that is still satisfying, though it is a fair criticism to say the movie underdevelops its plot devices. But it is not enough criticism to write this movie off.

What is explained is enough to give the audience what it needs to understand what is happening on screen. The lore behind the more sci-fi aspects of the film are never fully fleshed out, but that's okay, because all that absent exposition would not have improved the movie in a significant way. Would we have a better understanding of who and what Alton is? Yes. Do we need it? No.

The movie thrives on its atmosphere, not on its expository skills. From its expertly crafted opening scene, we know this movie will bring dread. the said scene calls back everyone's favourite 80s films, particularly that of Spielberg. It is an admittedly somber film with much need comedic relief led by Paul Sevier (Adam Driver) as an FBI analyst charged in finding out the motives of Roy and co. And although Kirsten Dunst, who plays Sarah, Alton's mother, is relegated to the ever one-dimensional 'mom-role', her emotional performance mirrors that of Midnight Special as a whole.

This road trip/chase journey of a film develops just enough to keep us in the loop, to keep us caring about these characters, to keep us fascinated with the mystery shrouding them and their motives. But once we get the picture, once the climax occurs, once we know the bare minimum of what is needed, the striking revelation is indeed a revelation and in the end, all we will ever know is the bare minimum. Everything is kept at a minimal, which may not go well with many viewers, meaning the payoff would not be worth it in their eyes.

Midnight Special is a commentary on the trials of parenthood, the shedding of a past life, touching upon religious fanaticism as some of its central themes and it does these well, particularly the former two. As much as Alton is a mystery to the audience, raising such a unique child poses its risks and challenges, especially when being dragged into a cultist scene that exploits his gift and threatens to separate the family.

Backed with great cinematography and direction, especially in the first half of the movie, the movement of the camera helps mitigate the film's leisurely pace before settling somewhat as its story progresses; and an understated score that reinforces the solemn mood and never reaches treacly heights, Midnight Special truly showcases its tonal command. Shannon and Edgerton, give steely and reserved performances, while Driver is goofy and endearing. Dunst emotes and evokes praise for her ability to draw sympathy and has a touching character moment near the film's end, and Lieberher remains professional and cool, wooden to others, but full of quiet resolve in my opinion.

This is my first Nichols film I have watched and if it will be yours as well, the second movie is soon to come.

8/10.