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.
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'.
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.
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…
It has Adam Driver. What else should I say?
Solid little movie here! I kind of hated the ending as it tried to do a little too much too late, but Michael “Big Chicago” Shannon is always incredible!
I'm glad this film is starting to pop up on 'hidden gems' and 'underrated movies you missed' lists because it was always one of my favorites. Saw it twice in the theatre in 2016, once at a Q&A with Jeff Nichols who was as brilliant and charming as you could hope.
Midnight Special's greatest strengths are atmospheric- the cinematography, the score, the brilliant costume and set design- but the cast is also top to bottom flawless and I especially like the opportunity it gives certain actors to play against type. Michael Shannon is probably at his sweetest, most vulnerable here; and Adam Driver strips himself of all physical confidence and intensity, playing someone who is open-minded and eager but ultimately…
Just an incredibly solid movie. One of those that does everything really well. The way Jeff Nichols sets up the mystery is probably one of the main things that’s truly exceptional. It’s very much in the mold of a “JJ-Abrams-mystery-box”, which reminded me a lot of Super 8. But it’s a lot more grounded than Super 8. Characters feel desperate. They feel bewildered as to what’s going on. They feel like real people. That’s also a credit to the actors, all of which do really great things. And the score can veer into some Giacchino emotional sounds, or be super-gritty. I don’t know. It all strikes a really good balance between out-of-this-world wonder and grounded reality. But, yeah, I had a great time with this!
A very interesting premise that just never quite delivered on it. There isn’t enough to the plot or characters to really make me invested in what’s happening no matter how fascinating it may be. I don’t mind a slow burn or an ambiguous ending, but I do need to feel some sort of meaning to what I’m watching and it just never happened here. Jeff Nichols is still a really good director and it’s a well made film, just not enough substance to push it into “good” territory.
I was a full hour into the movie before I realized I’d seen it before.
I like the concept and the casting, but the whole thing probably could’ve moved a bit quicker, although I would not say the pacing felt off. I suppose it worked, I was just a bit bored in the beginning.
My favorite part was when Adam Driver gave the helicopter pilot a dorky thumbs up.
Unanswered questions don’t typically bother me when it comes to sci-fis, but I do think it would’ve been quite interesting to see how Alton got here in the first place. I’d rather have seen that than any of that Ranch bull honkey.
Turns out I really like Kirsten Dunst. Would’ve been nice if she had more than like eight lines.
Damn that poster is terrible.
I might like this more on a 2nd watch but it was pretty gripping
Was on Twitter for like 2/3s the movie, then read the Wikipedia page with like 30 minutes left to go and still have no idea what was happening. Still, pretty cool.
Nicely shot and engaging enough moment to moment but there's barely any substance. It always bugs me when a movie doles out key information piecemeal as a substitute for any real plot action. Other than "I guess it's a metaphor for parenthood" I'm not sure what there is to take away from this movie. None of the characters have any personality, and we're given so little in the way of plot or backstory that right up until the end, it barely feels like barely anything has advanced.
This movie was exclusively driven by feeling to move the plot along. Ambiguous enough to make you constantly wonder but given just enough to grasp at what is happening. Wonderful
We need more original sci-fi movies - ones not based on any prior story. Reminds me of Knowing in that way (I loved that movie too). Ugh, so good.
Intriguing concept; however, I was only slightly involved in the movie. I feel my lack of strong caring could be due to the character archetypes being there, minus Joel Edgerton's Lucas maybe, but Nichols never seems to do anything interesting with them; considering that Shannon, Dunst, and Edgerton are supposed to be the backbone of this movie, the base you could say. (side note: It seemed that none of the dialogue coming from the characters really revealed anything about themselves; a possible intentional mundaness to keep the minimalistic approach Nichols may be going for? Who knows?) Formalism is okay; Nicholas isn't a visual master (though I will say there are some good shots here and there) and the blocking and camera movement seem standard. In conclusion, more than fine, veering on a little three star slapper/banger.