He's not like us.
A father and son go on the run after the dad learns his child possesses special powers.
A father and son go on the run after the dad learns his child possesses special powers.
Michael Shannon Jaeden Martell Joel Edgerton Kirsten Dunst Adam Driver David Jensen Sam Shepard Scott Haze Dana Gourrier Paul Sparks Kerry Cahill Bill Camp Billy Slaughter Lucy Faust Sean Bridgers Allison King Sharon Landry Sharon Garrison James Moses Black Yvonne Landry Maureen Brennan Ann Mahoney Garrett Hines Wayne Pére Dane Rhodes Lee Zurik Nicondra Norwood Sam Malone Sean Kaplan Show All…
Especial de Medianoche, Destino Especial, Среднощен чудак, Gece Yarısı, Midnight Special - Fuga nella notte
Really torn about this one. I think the use of this wild sci-fi chase as one big allegory for parenthood is really clever, but the family unit at the center of it all is really underdeveloped. Some of the scenes are very effective in both their suspense and their surprise, but others felt completely pointless. (Why watch Adam Driver “figure it out” if he never tells us what he found out and it ultimately didn’t matter whether he figured it out anyway?) Jeff Nichols’ previous films did a remarkable job of using genre trappings to explore rich and fascinating characters; Midnight Special feels way too wrapped up in its plotting and mysteries at the expense of its characters, something that…
This review may contain spoilers. I can handle the truth.
As cliche as this is, there's absolutely nothing special about Midnight Special. The film is well-made, but the script is as scarce as water in the desert. There's just nothing to this movie. A kid has special powers, Michael Shannon "kidnaps" him and he has to get him somewhere. We have no idea how or why this boy has these powers. The majority of the movie takes place in a car. The performances weren't necessarily bad, everyone was just so flat. But the actors were literally given almost nothing to work with. There isn't much character interaction, so I literally didn't care about anyone in this film. There's also zero chemistry between father and son or between any characters for…
Jeff Nichols's Midnight Special buries itself in secrets and a brooding, lucid sense of ambiguity, and it's exciting and unbalanced in equal measure. Carried by great performances (although Kirsten Dunst is sorely underused) and a truly hypnotic score, this sci-fi road-trip genre mix has its heart and mind in the right place, both as a late-70s/80s homage and a familial drama, but all of the mysteries never materialize in any satisfying form. Even worse is how the film lures the audience into reaching out for the ideas slightly beyond them even though there's no attempt of foundation or building the rules of its world. Jeff Nichols, at the very least, understands tone and committing to a singular, pulsating rhythm,…
Midnight Special begins in a dank motel room. The windows have been boarded shut. Nancy Grace spews an Amber Alert through the tinny speakers of the tube television in the corner. Roy (Michael Shannon) and Lucas (Joel Edgerton) are the kind of guys who would look like kidnappers even if they didn’t have a small boy stashed in the crevasse between the room’s two moldy beds. Alton (Jaeden Lieberher) sits on the floor with swimming goggles over his eyes, strangely docile and unperturbed for someone who’s meant to have been abducted; the kid hardly even seems to flinch when Roy yanks him into the backseat of his 1972 Chevelle. There’s no indication of where they’re going, but Lucas’ decision to…
Alton Meyer: Dad?
Alton Meyer: Are you scared?
Alton Meyer: You don't have to worry about me.
Roy: I like worrying about you.
Alton Meyer: You don't have to anymore.
Roy: I'll always worry about you Alton. That's the deal.
Textbook case of being consistently intrigued without ever really becoming involved. For some reason, the emotional core of this film seems to have gone missing—I can see where it's supposed to reside, but the love Alton's parents feel for him is oddly abstract, perhaps because E.T. seems more human than he does. Nichols' allergy to exposition fosters suspense, but it also means that the story's nonsensical elements (e.g. why does Alton need to be "kidnapped" if Dad is planning to take him to exactly the same location that the cult was, for the same reason?) get exposed en masse in the final reel. I felt let down, basically. But that's always a danger with speculative fiction, and if Nichols fails to stick the landing, at least he stays aloft as long as he possibly can.
Packed with weighty existential and supernatural themes and ideas set to a deliberately paced puzzle, at its heart, this movie is about the mournful power of fatherhood. An original and inventive, utterly arresting cosmic thriller that keeps its cards well hidden, the film's real drama lies in a father's belief in his son and disbelief in the system. Wrought with tension throughout, and with committed performances, the big realization at the end is the enormously refreshing feeling of experiencing originality in a mainstream (albeit relatively low-budget) blockbuster.
Jeff Nichols is our savior from run-of-the-mill studio movies.
This is a film for the people who like not being spoon-fed every bit of information. This is for the people who don't mind being in the dark. This film is for the mysterious. This film is great.
Michael Shannon, Joel Edgerton, and Kirsten Dunst. Terrific.
This was also the first time that Adam Driver hasn't bothered the crap out of me in a movie.
The less you know, the better. I'd say more, but I'm going to be careful and run no risk of spoiling anything.
Nichols best film since his masterpiece 'Take Shelter'.
Is it good?
What is this Midnight Special about?
It's basically sort of a superhero movie. Actually, I'd say it's more of a "superpower" movie.
I like superhero movies. Will I enjoy this?
This one's a lot more grounded and a lot less action-packed than your usual Marvel/DC blockbuster fare. Right now, the closest comps I could think of (in terms of style and genre) is Unbreakable and Chronicle. Tonally, it's closer to the former, but overall, the film doesn't share much similarities to either of the two. It's actually closer to E.T., only more mature and violent (although blood is rarely shown and most of the violence is implied and done off-screen). And…
A sci-fi thriller that puts story and characters before special effects, Midnight Special is a strange, nuanced, poignant tale of family and faith guided by an ensemble of excellent performances.
Really enjoyed this road-movie flashback to the 1980s, equal parts Firestarter and E.T. with Close Encounters Of The Third Kind thrown in. But I wish it had a little more of the Jeff Nichols-specific magic to it, the depth of emotion and richness of writing that's defined his other movies. Nichols has admitted himself that he may have cut too much from this film to keep the story as cohesive as it should have been. In the end, I wanted his full version of the story, in novel form, spelling out all the things he glided over, as much as I wanted this film.
Looking at his filmography, I'd say it is impossible to ignore the storytelling talent of Mr. Nichols. No matter where he takes us, his ability to craft compelling stories and characters is one I admire greatly.
And for the better part, Midnight Special is no different. From the opening moments it's clear this is going to be Nichol's love letter to the science fiction genre. The first two acts are nigh perfection. A slow and deliberate show and tell that reveals a lot, yet still keeps you intrigued. As mundane as the plot may seem, it's Nichol's Midas touch and the great character work by the cast that lifts this several cuts above the rest.
Shannon's performance especially is as…
i liked adam driver?
i would die for this family
I don’t get it
- after seeing the cast
- after watching the movie
- the suspense hasn’t taken you out
You still don’t like this movie? Get your heart right and head checked.
Also, I don’t know how the grammatically diagram that sentence so
Well shot, well acted, simple script. I think the premise could have been a bit more interesting as far as the resolution is concerned. It kind of started as an intriguing thriller and morphed into some kind of sci-fi short you might see on the Dust YouTube channel. I love Michael Shannon in almost everything I’ve seen him in and he was great here as well. The other actors were okay, there just wasn’t much for them to do. Adam Driver is special to the kid for some reason, not sure why. Overall, I was pretty hooked throughout but the ending left something to be desired.
I remember hearing rumblings about Midnight Special when it came out in 2016. I can’t say I wasn’t warned. I somehow managed to go into this film with high expectations and was unfortunately let down. I think my issue with Sci-fi, is that I tend to want it to be less cerebral and a little more CGI. Whether that is bad or good, it’s how I view and therefore rate these films.
I seem to be in good company when I say that Midnight Special is in the lineage of 1984’s Starman. While I haven’t seen that film in probably 30 years, my gut is telling me that I found it more entertaining than Midnight Special. Sorry Michael Shannon, I…
an·ti·cli·mac·tic (adj.): Midnight Special.
I really thought they had something here. The cinematography, soundtrack, and acting were all perfect, but for what? There's no plot. I don't know what they were thinking. It's difficult to criticize when the outer layer is so nice but there's nothing beyond.
I remember this being really good when I saw it a year ago but I immediately forgot this existed until i saw something on it recently soooooo
Within this movie’s first minute:
You overhear an amber alert on the news. A child is missing. They already have a suspect. Michael Shannon watches his own face light up the evening news. He is in a cheap motel room. A friend is with him, tearing cardboard that has been duct-taped to the windows. Why? We don’t know. They have duffel bags, shotguns, and pistols. The missing child is seated on the floor, covered in a blanket. Comfortably reading comics. Wearing swim goggles. Earmuffs over his ears. Why? We don’t know. But it’s time to go.
The three of them get in a car, are recognized by a faraway newswatching bystander, and take off, speeding madly into a black country…
Wow, I saw that coming.
Oddly charming. Subtle movement and simple shots go a long way here. Great example of a really solid film all around. And that gas station scene.... would love to do something like that one day.