Midnight Special Review (2015)

Writer/director Jeff Nichols’ “Midnight Special” is an ambitious amalgamation of different genres and styles of film. It’s constantly changing shape and evolving, making it difficult for the viewer to determine where its heading. The movie is mainly grounded in the mundane here and now, though it eventually pivots towards epic, awe-inspiring Sci fi. It’s a father-son drama and an “on-the-run-from-the-government” thriller. It’s a family friendly adventure flick with the same sense of mystery, wonder and excitement found in early Spielberg (think especially of “E.T. and “Close Encounters of the Third Kind”). It’s faith based but not in a heavy-handed, patronizing or even scathing way. In fact the faith aspect doesn’t have to do with a particular religion, but more that there are things in our world and the universe that are beyond our understanding and can’t be explained logically.

That sounds like a lot for one movie, and it is, but Nichols manages to weave all those ingredients (for the most part) into a cohesive narrative. It helps that he uses the road-trip/quest structuring device, which keeps the film moving at a snappy (but not too snappy) speed and from meandering too far off track. The characters are always on the move; they know where they need to go and what their objective is, although the audience doesn’t always know. More importantly, Nichols keeps the picture’s focus primarily on the father-son drama; their relationship is the guiding force through this wild, tense and emotionally poignant adventure.

“Midnight Special” gets going right away, beginning in aftermath of a child kidnapping. The two kidnappers Roy (Michael Shannon) and Lucas (Joel Edgerton) are holed up in a motel with the kid, Alton (Jaeden Lieberher). Roy and Lucas are dangerous and determined. Later, on the road, Lucas shoots and kills a state trooper. Getting caught and giving up the boy are the last things on their mind. We find out that Roy is Alton’s father and he’s taken him from a cult that worships him. Without going into much detail, lets just say Alton possesses extraordinary powers. Roy and Lucas meet up with Sarah (Kirsten Dunst), Roy’s ex wife and Alton’s mother. The ruptured familial unite has been temporarily restored and they continue on the run, while the cult and the government attempt to track them down.

That’s all I want to say in terms of plot because the mystery as to what exactly is going on (what’s up with Alton’s powers? Where is the family going?) is one of the most captivating things about “Midnight Special.” The picture is remarkably paced; the screenplay never reveals too much information at any one moment. Nichols keep the viewer in a consistent state of suspense; just when you think you have the film figured out it takes a left turn and throws you off its scent. There’s rarely a stagnant moment.

Yet, as exciting and tense as the film can be, it wouldn’t count for much without the strong emotional core brought on by the bond between Roy and Alton. Shannon is known for playing menacing, sometimes scene chewing, characters. He has a daunting physical appearance: an intimidating six foot three build, a rough looking face and a thousand yard stare that could melt ice. Here, however he’s appropriately low key and gentle, playing a father who would do anything to protect his son. At the same time, he’s still trying to full understand Alton and what he’s capable of doing. Ultimately, Roy has to do what’s best for him, even if it ultimately means letting Alton go, letting him go out into the world and find his place in it.

The young Lieberher is also quite strong (understated without becoming robotic) and I found his character’s growth to be one of the most emotionally resonant pieces of the movie. He begins as just another weird child with special abilities that we’ve seen a thousand times before. He’s an animate macguffin-- a living prop, objectified by those around him and misunderstood. To the cult, he’s their prophet; to the government he’s a weapon (he’s neither). In whatever context, he’s a valuable commodity. Though gradually, Alton transitions from object to subject, gaining awareness of himself (including his powers) and the world around him. Eventually, it’s Alton who confidently guides the family where they need to go. In this regard, “Midnight Special” is also a coming of age story; Alton’s evolution is handled with authenticity and tenderness.

Not surprisingly, “Midnight Special” can feel cluttered at times and certain intriguing aspects of the narrative are neglected. For example, the cult, lead by an old man named Calvin (Sam Shepard), plays a prominent role at the beginning of the film, but part way through Nichols abruptly tosses them to the side (after a somewhat superfluous scene involving a shootout at a motel) and we never hear about them again. It would have been nice had Nichols either kept them in or found a less sloppy way to write them out of the movie. Their bizarre devotion towards Alton’s make them a compelling antagonistic force, in addition to the pursuing government.  

Even so, “Midnight Special” is a fantastic movie, managing to be an exciting mystery/adventure/Sci fi and a poignant father/son drama. It gets better the more I think about it.

B+

Black Mass Review (2015)

There’s an intense scene in Scott Cooper’s gangster film “Black Mass” that does a great job of encapsulating Irish mob boss James “Whitie” Bulger’s (Johnny Deep) outlook on life and depicting his general intimidating demeanor. Bulger, along with his right hand man Steve Flemmi, (Rory Cochrane) F.B.I. Agent John Connolly, (Joel Edgerton) and another F.B.I. Agent John Morris (David Harbour) are eating steak dinner, having a good time. Bulger casually asks Morris (who cooked the steaks) what the recipe is. Morris doesn’t answer at first, saying it’s a “family recipe” but then after Bulger asks a few more times Morris reveals it. Suddenly Bulger becomes dead serious, zeroing in on Morris with his buggy eyes and, in his soft voice, berates the agent about loyalty and how he easily gave up a family recipe. The color drains from Morris’ face and it seems like Bulger is going to smash his face in. A beat or two later and Bulger breaks into laughter, saying he was “joking.”

But beneath those cackles we know that he’s not joking. For Bulger, loyalty isn’t a laughing matter and up until now we’ve seen again and again how he deals with people who aren’t trustworthy…and it isn’t pretty.

Black Mass” is an elegantly made period crime film that’s all about loyalty-- how important it is to Bulger and how ruthless he can be towards people who aren’t. Organized crime is built on a combination of loyalty and fear; in forming and expanding your gang you need people you can count on and when someone gets out of line or backstabs you, you have to make an example of them, a gesture that instills some level of fear in the rest of your outfit and keeps them in line. This example-making extends to the community and non-gang members as well; if a civilian witnesses a cold blooded murder they’ll keep their mouth shut, either out of respect for the gang members or out of fear of getting killed. Scene after scene, Cooper’s film essentially comes down to: are you loyal to Bulger or not? Yes? Great, you get to keep on living. No? Well expect a bullet to the head or a rope around the neck. The film doesn’t shy away from showing us the graphic, disturbing details of Bulger’s wrath; basically every act of violence comes back to the question of loyalty.

Unlike, say, the lively, black comedic swaggering of a Martin Scorsese gangster film (“Goodfellas”) “Black Mass” is cold and unsettling; Masonobu Takayanigi’s cinematography is gloomy, almost  apocalyptic. There are some funny wisecracks every now and then but it doesn’t look like fun. Not that gangster films are supposed to look “fun” to us but the characters, for the most part, don’t look like they’re having much fun being gangsters, as if they’re permanently on edge. Will Bulger kill me for something I did? What did I do?

And frankly I don’t blame them. Bulger is a psychopath. With his slim stature, pale sickly skin and thinning hair, he looks like the cold remorseless monster he is. Bulger isn’t flamboyant or showy and he certainly isn't charming. Instead he’s calm and methodical, never becoming overly animated in times of anger and not above taking out his own trash. The opening scene where he gets mad at an associate for eating nuts and sticking his wet fingers back into the nut bowl shows how highly observant he is of other people’s behaviors. He often looks like he’s deep in thought. Thinking about his next move. Thinking about who might betray him next and how he might kill that person.  At the same time Bulger is extremely selfish—cherishing loyalty but only loyalty towards him. Depp’s Bulger is chilling and eccentric yet also measured and understated; the character never verges into hammy territory. After playing nothing but zany cartoon characters (“Pirates of the Caribbean”) for the last few years it’s nice to see him tackle real, compelling characters again (he’s good at it).

Edgerton is also strong as Connolly (who forms an alliance with Bulger in order to take down the rival Italian Mafia). Overall Connolly is a decent guy who’s morally conflicted—trapped between an obligation to perform his duties as a government agent and his admiration for Bulger. The two grew up in the same neighborhood together so he feels a connection to the malicious criminal, causing him to define his own notions of what’s right and wrong. It’s a great character that’s in some ways more compelling than Bulger; Bulger is a bad guy and knows it but Connolly wants to believe he’s doing good things.

 “Black Mass” falters when it wants to be a grand, ensemble gangster epic. Bulger and Connolly emerge as the only three-dimensional characters. Meanwhile the supporting characters (played by an array of immensly talented actors like Benedict Cumberbatch as Bulger’s politician brother, Corey Stoll as a no nonsense DA, Jesse Plemons as a budding young enforcer in Bulger's gang or Peter Sarsgaard as a wirey drug addict) have great moments but overall their characters sort of  fade into the background. Like a lot historical biopics, “Black Mass” bites off a little more than it can chew--trying to cram a rich, nearly ten year story with lots of colorful characters into a feature lenghth film. More than once the movie loses focus.

Also, for all the years that are covered (nineteen seventy five to the mid eighties) we don't learn that much about Bulger and how his Winterhill gang actually came to power in the first place. The script by Mark Mallouk and Jez Butterworth glosses over the “business” side of Bulger’s outfit (how they maintain control over South Boston) and his progression from smalltime crook to top dog is treated somewhat vaguely. "Black Mass" wants to be a traditional rise and and fall gangster epic but we don't see much of Bulger's rise or fall. It's really only about Bulger and Connolly and their years long alliance.

Even so, I can't say I had a totally unpleasant time during the film. As a crime epic, Cooper doesn't quite pull it off, but as a dark violent character study about a ruthless man who takes loyalty very seriously and his pact with a morally divided F.B.I agent, it's watchable. Also, as a vehicle for Depp and Edgerton’s heavy weight performances, “Black Mass” succeeds tremendously.

C+

The Gift Review (2015)

“The Gift” can best be described as a creepy stalker movie but it’s not the creepy stalker movie you think it is. It’s predictable and yet not predictable, never going quite where you expect it to go.  I wouldn’t classify it as horror but like the best horror movies it relies on subtlety—gradually building suspense, just waiting to burst. The movie is cold and meticulously constructed; it feels both mundane and menacing. It’s a slow burn up until the final minutes but what a stressful slow burn! Eduard Grau’s cinematography is appropriately grey and gloomy, heightening the paranoid, dread filled atmosphere. The instrumental score by Danny Bensi and Saunder Jurriaans is quietly unsettling, only flaring up every now and then.

Simon (Jason Bateman) and Robyn (Rebecca Hall) have moved into their new sleek suburban home. He works at an upscale security system company. She’s a consultant from home. At a department store they run into Gordo (Edgerton) who went to high school with Simon. Gordo appears timid and a little socially awkward but friendly none-the-less. He and Simon exchange a few words and later on he leaves them a gift on their front porch. Simon and Robyn don’t think much of it and move on with their lives. We learn more about Simon’s job. Robyn befriends the neighbor woman. But then Gordo shows up at their doorstep and keeps coming back and keeps leaving wrapped gifts accompanied by handwritten notes with smiley faces at the bottom (which is some how creepier). Simon and Robyn’s politeness is tested. Things get weird.

Edgerton maintains a deliberate pace and a sense of calm. For a thriller like this the more patient the director is in telling the story, the tenser the audience becomes. Edgerton’s script is more intricate than it initially seems and is concerned with character development rather than instant shocks. The movie slowly peels the layers off of each character. We learn more about Gordo and Simon’s past, marital troubles Simon and Robyn thought they left behind come creeping back, cracks start to form in their relationship as new secrets and shades of their personality are revealed.

Bateman has always been great at playing a jerk with a hint of pathetic. Here he does the same but there’s more to this particular jerk character than meets the eye. Of the three, Robyn goes through the most change; she starts out stable and put together, but the stress of the situation eventually consumes her, making her frail and paranoid. And then in the second half she transitions into the amateur detective role as she searches for truth. Edgerton is extraordinary, giving a chillingly understated performance. Gordo comes off so harmless and weak but you also feel like he could snap at any moment.

Though with Gordo it’s not so much what he does in the movie but what he doesn’t do. His absence is far more unsettling. At one point Robyn is alone in their big empty house. She thinks she hears something upstairs and when she doesn’t find anything she passes out anyway. When you don’t even need to be in the room to freak someone out, you know you’ve got a hold of them. That’s fear.

Gordo seeps into Simon and Robyn’s consciousness, which is exactly what “The Gift” does to the audience. The picture engages you on a deeper, psychological level; it stays just on the cusp of exploding into over-the-top B horror. It sticks with you. “The Gift” is also one of the few movies to use jump scares extremely well. For the most part I don’t like jump scares—they’re cheap and lazily used to get an easy jolt out of an audience. They wear off immediately. Only one jump scare happens in “The Gift” and it’s effective because we haven’t been bombarded by a dozen other jump scares already. The movie trains us to expect jump scares every minute so when the sequence finally arrives it catches us by surprise.

I don’t think “The Gift” is going to do well with general audiences. It’s too slow and never turns into the clichéd stalker thriller you expect it to. The ending is clever and exciting but like the rest of the movie it works on a more cerebral level. As for me? I was enthralled the whole way through. This is Edgerton’s directorial debut and right out of the gate he demonstrates he has the know-how to craft a smart and creepy thriller.

A-