Not so special after all
Midnight Special lags in thrills
By Kaely Monahan
Previews give you the impression that Jeff Nichols’ Midnight Special will take you on a gripping Spielberg-like adventure. Mystery, religious cults, an alien child and the U.S. government all clash together in a spectacularly lackluster film that seems to be on the cusp of being something great but never reaches it.
The film begins with a child abduction. Roy Tomlin (Michael Shannon) accompanied by good friend Lucas (Joel Edgerton). Hiding out in a dingy hotel room with cardboard covering the windows, they have young “captive” Alton, played by a remarkably good Jaeden Lieberher. (Although that shouldn’t be a surprise to those who saw him in St. Vincent with Bill Murray. Sadly, his acting chops are not fully utilized in Midnight Special film.)
The film begins with a child abduction. Roy Tomlin (Michael Shannon) accompanied by good friend Lucas (Joel Edgerton). Hiding out in a dingy hotel room with cardboard covering the windows, they have young “captive” Alton, played by a remarkably good Jaeden Lieberher. (Although that shouldn’t be a surprise to those who saw him in St. Vincent with Bill Murray. Sadly, his acting chops are not fully utilized in Midnight Special film.)
The boy seems wholly unperturbed by his circumstances and is calming reading Superman comics under a blanket while wearing blue swimming goggles and giant orange, industrial grade headphones. As it turns out he doesn't have anything to worry about, although Tomlin's gruff attitude is enough to make one squirm with dread at first.
Tomlin has a look about him that could swing towards pedophile, jilted lover, or just all around creep. In a crisp, non-descript button-up that is buttoned all the way up, Tomlin turns out to be the boy’s father and he has just absconded with his son from some wacky southern cult in Texas. Note: Shannon is a part of the cult, so read into that what you will.
The cult believes Lieberher is their key to salvation, or something close to it. The kidnapping turns out to be something more of a rescue mission, and it comes just in time as FBI agents descend on the cult's land. More detail on that further on.
Tomlin has a look about him that could swing towards pedophile, jilted lover, or just all around creep. In a crisp, non-descript button-up that is buttoned all the way up, Tomlin turns out to be the boy’s father and he has just absconded with his son from some wacky southern cult in Texas. Note: Shannon is a part of the cult, so read into that what you will.
The cult believes Lieberher is their key to salvation, or something close to it. The kidnapping turns out to be something more of a rescue mission, and it comes just in time as FBI agents descend on the cult's land. More detail on that further on.
Tomlin has a look about him that could swing towards pedophile, jilted lover, or just all around creep. In a crisp, non-descript button-up that is buttoned all the way up, Tomlin turns out to be the boy’s father and he has just absconded with his son from some wacky southern cult in Texas. Note: Shannon is a part of the cult, so read into that what you will.
The cult believes Lieberher is their key to salvation, or something close to it. The kidnapping turns out to be something more of a rescue mission, and it comes just in time as FBI agents descend on the cult's land. More detail on that further on.
Apparently, Lieberher hears the great beyond and his babblings are seen as a sort of messianic oracle. As it turns out he does hear both something from “the beyond” as well as radio signals from police and government transmissions — hence the enormous headphones.
Back in the hotel room, reports are broadcasted on TV and radio about the missing Lieberher, which makes Shannon and Edgerton antsy. However, Lieberher is something of a night owl, though not in the conventional sense. Escapees can only travel at night, which is explained further in the story. (Something to do with Alton's alien-nature.)
As they speed out Texas eastward towards the boy’s birth mother (Kirsten Dunst), perspectives shift to what is going on at the cult headquarters, blandly called “the Ranch.” Overseen by a severe and off-putting Sam Shepard as Calvin Meyer, the Ranch is infiltrated by the FBI who have had their eye on the place for a while. The congregation is thoroughly interviewed although Nichols seems to treat their plight with more softness than the government.
The cult believes Lieberher is their key to salvation, or something close to it. The kidnapping turns out to be something more of a rescue mission, and it comes just in time as FBI agents descend on the cult's land. More detail on that further on.
Apparently, Lieberher hears the great beyond and his babblings are seen as a sort of messianic oracle. As it turns out he does hear both something from “the beyond” as well as radio signals from police and government transmissions — hence the enormous headphones.
Back in the hotel room, reports are broadcasted on TV and radio about the missing Lieberher, which makes Shannon and Edgerton antsy. However, Lieberher is something of a night owl, though not in the conventional sense. Escapees can only travel at night, which is explained further in the story. (Something to do with Alton's alien-nature.)
As they speed out Texas eastward towards the boy’s birth mother (Kirsten Dunst), perspectives shift to what is going on at the cult headquarters, blandly called “the Ranch.” Overseen by a severe and off-putting Sam Shepard as Calvin Meyer, the Ranch is infiltrated by the FBI who have had their eye on the place for a while. The congregation is thoroughly interviewed although Nichols seems to treat their plight with more softness than the government.
They are humanized and their extreme religious beliefs are dealt with delicately. Yet, for anyone who has watched "Unbreakable Kimmy Schmidt, it's hard to take the cult scenes seriously.
The true baddies of the film are the government, which should make any anti-government sympathizers happy. But Nichols’ interpretation of them shows a lack of research as he toys with deeper means and ideas of Big Brother/Big Government. While the truth might be more terrifying, indeed the Snowden revelations are still deep in our psyche, Nichols' government agents didn’t feel threatening as they were not fully realized. There was just an insubstantial ominousness.
The exception was Adam Driver who plays NSA officer Paul Sevier. A newbie to the force, Driver instills some nuance and life into what could have been a rote character. You can see his mind trying to get to the truth behind the cult’s strange belief that Lieberher is their messenger sent from God.
As he gets the same story from each interviewee (e.g. they look into Lieberher’s eyes which beams a light almost like Superman’s x-ray vision), and after the experience, they are somehow enlightened and comforted. The odd similarity of each account and everyone’s strict adherence to the story gets Driver thinking. Does he believe that Leiberher is some sort of God-child? Maybe, maybe not, but it does show open-minded, though skeptical nature.
The rest of the film is a protracted cat-and-mouse game as Leiberher’s parents speed him to a specific location which he must reach before a certain date. Yet every time, Nichols builds the suspense he loses it by letting scenes last too long. The tension fizzles out and it's a slog to get motivated to care again. Only Leiberher and Driver are interesting, but Leiberher’s skills are mostly relegated to sitting in the back of a car reading comics. We spend less time with him than listening to his supporters argue about what should be done with him and how to get him to the mysterious rendezvous point.
The film concludes in something that is reminiscent of last year’s Tomorrowland. An amazing alien world is revealed but like Tomorrowland, it’s an all too brief glimpse that soon disappears, along with Leiberher, who is, in fact, an alien, even though he was born to human parents (apparently).
While the film does move, it seems to be spinning its wheels instead of reaching the desired heart-gripping suspense. There are moments of interest, suspense and even tension, but none of it is sustained. The entire story felt like it was on the cusp of becoming a great adventure, but it never quite gets there. If Nichols’ inspiration was Spielberg-ian storytelling, then he needs to keep practicing — and perhaps a proper composure to create a better score.
Food comparison:
Watching Midnight Special is like sloshing your way through old, congealed chicken pot pie served in a school cafeteria. The elements of something delicious are there. You've had tasty versions of it before, but what they've served you today is a poor substitute for the glorious melting of flavors and textures that it should be.
The true baddies of the film are the government, which should make any anti-government sympathizers happy. But Nichols’ interpretation of them shows a lack of research as he toys with deeper means and ideas of Big Brother/Big Government. While the truth might be more terrifying, indeed the Snowden revelations are still deep in our psyche, Nichols' government agents didn’t feel threatening as they were not fully realized. There was just an insubstantial ominousness.
The exception was Adam Driver who plays NSA officer Paul Sevier. A newbie to the force, Driver instills some nuance and life into what could have been a rote character. You can see his mind trying to get to the truth behind the cult’s strange belief that Lieberher is their messenger sent from God.
As he gets the same story from each interviewee (e.g. they look into Lieberher’s eyes which beams a light almost like Superman’s x-ray vision), and after the experience, they are somehow enlightened and comforted. The odd similarity of each account and everyone’s strict adherence to the story gets Driver thinking. Does he believe that Leiberher is some sort of God-child? Maybe, maybe not, but it does show open-minded, though skeptical nature.
The rest of the film is a protracted cat-and-mouse game as Leiberher’s parents speed him to a specific location which he must reach before a certain date. Yet every time, Nichols builds the suspense he loses it by letting scenes last too long. The tension fizzles out and it's a slog to get motivated to care again. Only Leiberher and Driver are interesting, but Leiberher’s skills are mostly relegated to sitting in the back of a car reading comics. We spend less time with him than listening to his supporters argue about what should be done with him and how to get him to the mysterious rendezvous point.
The film concludes in something that is reminiscent of last year’s Tomorrowland. An amazing alien world is revealed but like Tomorrowland, it’s an all too brief glimpse that soon disappears, along with Leiberher, who is, in fact, an alien, even though he was born to human parents (apparently).
While the film does move, it seems to be spinning its wheels instead of reaching the desired heart-gripping suspense. There are moments of interest, suspense and even tension, but none of it is sustained. The entire story felt like it was on the cusp of becoming a great adventure, but it never quite gets there. If Nichols’ inspiration was Spielberg-ian storytelling, then he needs to keep practicing — and perhaps a proper composure to create a better score.
Food comparison:
Watching Midnight Special is like sloshing your way through old, congealed chicken pot pie served in a school cafeteria. The elements of something delicious are there. You've had tasty versions of it before, but what they've served you today is a poor substitute for the glorious melting of flavors and textures that it should be.