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Midnight Special

Review: Midnight Special (1)

Jaeden Lieberher in ‘Midnight Special’

We need to talk about Alton. Nice boy, bright, well-behaved. But it seems strange that his eyes sometimes shine like the demon kids’ peepers in Village of the Damned, and that he occasionally speaks in unison with the deejay on the Spanish-language radio station—even when the radio isn’t turned on. Little things like that.

Alton’s peculiarity is at the heart of Midnight Special, the fourth feature written and directed by Jeff Nichols (Take Shelter, Mud). As the film begins, we are mysteriously in the middle of the action: Eight-year-old Alton (played by Jaeden Lieberher, the boy from The Confirmation) is being transported across Texas by his father, Roy (Michael Shannon), and Roy’s state-trooper buddy Lucas (Joel Edgerton). The authorities are after them, but we don’t know why. Meanwhile, a religious patriarch (Sam Shepard), who seems to be the leader of some sort of apocalyptic cult, orders his deputy (Bill Camp) to find the kid at all costs.

Continue reading at Seattle Weekly

Review: Midnight Special (2)

Michael Shannon and Jaeden Lieberher in ‘Midnight Special’

Jeff Nichols is in the zone. With just a handful of films, the Little Rock, Arkansas, native has crafted his own busy little pocket of Southern Gothic, spilling over with feuding families (2007’s Shotgun Stories), ordinary people touched with terrible prophecy (2011’s Take Shelter), and the painful limits of self-aware mythologizing (2012’s Mud). Whatever the subject, the writer/director’s movies are all marked by unobtrusive camerawork, unsparing yet respectful looks at blue-collar living, and a few touches of downright weirdness somehow specific to his region. (Shotgun Stories features a father who names his offspring Son, Boy, and Kid, which is something that you can imagine Flannery O’Connor and Harper Lee enthusiastically high-fiving about in the afterlife.) He’s got chops, is what I’m saying.

Midnight Special, Nichols’ latest, continues the director’s winning streak. While on its surface an affectionate throwback to the kid-friendly sci-fi adventures of yesteryear (as the critic Matt Zoller Seitz said on Twitter, if this had been made in the ’80s, it’d never stop playing on HBO), its underlying themes of families under pressure make it very much of a piece with the filmmaker’s other work.

Continue reading at The Portland Mercury