Most recently I took issue with the beginning of Rogue One, a film which took too long to get going. By the time that it had established its motives and threats the film had already lost me due to throwing out too much mediocre exposition. I had quickly lost faith in the film. I found a nice counterpart to this in Midnight Special, a movie about faith. It takes a long time to start delivering answers but enshrouds itself in an aura of mystery and character drama. Allowing connections to be made to the characters and questions to be asked as of people’s goals. The point that this drove home to me is that if a film’s beginning isn’t exciting then it must grab its viewers’ attention by being at least intriguing or cryptic. Midnight Special is both from the first scene.
The first scene is an incredibly efficient scene of exposition, using that age-old method of TV news we are introduced to a kidnapped child being held in a motel room by two gun wielding men. Immediately we must question how are we going to side with these men if these are our protagonists. But the gentle concern in the voice of Michael Shannon’s Roy tells us that cares for the boy and the ambiguity of the viewer is immediately established.
Adam Driver’s Paul is the most traditional, accessible character in the film as he is educated of the situation at the same time as the viewers. In a more traditional film he would be the protagonist. However, this is not a film about information, this is a film about faith and relationships, an ethos which is given form by the terrific performance of Michael Shannon as Alton’s father.
Whilst the film is overall a moving and emotive one with a heart of mystery the answers at times do not satisfy. It seems as if Midnight Special was made to not have any solid answers, yet the film gives away half-answers in the form of flowery dialogue, sometimes to a fault.
The purpose of the journey seems to become muddy in the middle, with the main driving factor being Alton’s infrequent episodes and panic attacks. The reasons for which are kept vague for all too long and like the team of runaways the film follows, viewers too are kept in the dark a bit too long. This leads to waning interest when the film should be building up to its conclusion.
The film wears its relatively muted budget beginnings on its sleeves, creating tension out unspectacular set pieces, an example being an extremely dramatic scene late in the film set in a traffic jam and a prolonged sequence involving a road block. Moments which would be 30 seconds long in a typical blockbuster are stretched out for five minute chunks that squeeze every last drop of tension out of the situation.
Midnight Special does a lot with very little. This is to its own credit for the most part but it does mean that there are moments that can lack that penetrative quality. Most notably the flashing eyes of Alton are visited repeatedly but fail to ever look any more than an After Effects overlay. Perhaps it looks so far out of place simply because the film is so gritty and modest in its effects that the eyes stand out like a sore thumb.
It is not Spielberg, Midnight Special is not for everyone, the air of mystery sometimes gives way to the entertainment value and can at times be frustratingly vague
Sci-fi fans will be disappointed by the lack of fantastical elements and thriller fans may be underwhelmed by the few set pieces. The film boasts great acting on all fronts and a nervy contemplative atmosphere that will engage fans of films that do things differently.