Midnight Special is readily understood as a film about being a parent who loves a child so much — and of course there are plenty of movies about people who love their children, so a common objection is that this one is too humorless and withholds action and who needs that? But there’s something about the way this film depicts the way adults interact with the child in question — not so much a cute kid like you’d see in a Steven Spielberg movie, but a weird kid like you’d read about in a Stephen King novel — that’s as heartening as it is serious and sad. It works as a metaphor for raising an autistic child, or a physically ill child, or a prodigy, or some other young handful. The climactic visualization of the remove between young Alton and his surroundings isn’t tremendously satisfying as an action set piece, but it’s a solid science-fiction metaphor, and it makes better emotional sense here than the same gimmick did in Tomorrowland. But in its presentation of confidence and selflessness as imperatives for parents and parental surrogates, Midnight Special plays like a stoic, even-keeled answer film to the crisis of faith posed by The Babadook. Continue reading
My review of The White Ribbon is online at www.filmfreakcentral.net:
The White Ribbon is executed at an incredibly high level of craft and with an off-putting degree of self-confidence. While it is, at times, a movie of preternatural beauty, Haneke is confident that he’s shining a light into the dark corners of recent human history, and he comes on like a preacher reading from the Book of Revelation.