2016.61: Midnight Special (Amazon VOD)
Like Super 8 a few years back, Midnight Special displays its inspirations clearly- it’s very much kin to Steven Spielberg’s seminal CE3K and ET, and also John Carpenter’s Starman. Indeed, while it often looks like a Spielberg film it also feels like a Carpenter film because of an electronic score by David Wingo that sounds very much from a Carpenter film of that period. Midnight Special just overflows with this sense of being an artifact from circa 1977-1982, the danger naturally being this can bring to mind better movies. I guess it shares common ground with so many other cinema-referential films of late, such as Super 8 – films harking back to the films that influenced current film-makers. A generational thing then, and further sign I’m getting old when so much of the films I grew up with winds up in ‘new’ films, even the ones that aren’t reboots?
That being said, Midnight Special is, on a whole, quite superior to stuff like Super 8. For one thing it doesn’t feel so reverential, and does try to do something new even though it eventually falters. The first half of the film is its strongest, with the mystery holding the most attention; two adults are on the run having kidnapped a young boy, and they are being chased by both Government forces and agents of a strange religious cult. Having pretty much been dropped into the middle of a chase movie with X-Files undertones, its fun trying to unravel the backgrounds of the characters and what is really going on and why. Inevitably the film can’t really maintain the mystery and its reveals aren’t as imaginative or original as one would hope. That said, it’s a great thriller for most of its running time even if the conclusion leaves us asking more questions than is perhaps healthy for what I believe is a standalone picture.
The cast is pretty great, except, unfortunately, for Kirsten Dunst. She plays the childs mother, Sarah, and there really isn’t any conviction in her portrayal of motherhood, or indeed any chemistry between her and the child’s father, Roy (Michael Shannon)- it is a huge vacuum that the film doesn’t really recover from. I don’t know if it’s simply the script at fault (in Dunst’s defence, it is a fairly underwritten part) or miscasting, but somethings wrong and the film suffers for it, losing the emotional core that, say, ET had. Other than that, there is plenty to recommend in this film- a fairly low budget affair (something like just $20 million) it’s certainly more imaginative and entertaining than most of this summers blockbuster releases.