We Got People Die Everyday Believing in Things in Midnight Special

Midnight Special

*WARNING: POTENTIAL SPOILERS AHEAD*

“We Got People Die Everyday Believing in Things”

It’s a potent line spoken by Joel Edgerton as Lucas, a lost soul of a man who recently reunited with his childhood best friend, Roy (Michael Shannon, perfectly run-down but not out, as always) and now finds himself in a fine mess, waxing about the nature of people and the world with Sarah (a quietly fervid Kirsten Dunst) in a hotel room hoping that Roy (who “believes in something” Sarah’s fatalist romanticizes) makes it back from wherever he just went with his and Sarah’s son Alton (Jaeden Leiberher), a sick little boy with special powers wanted by the cult from which he came and the US government.  They’ve got to get the kid to a very specific place for a very specific reason (to fulfill a destiny?), but they don’t know what or why that is.

Everyone in the film ends up believing in Alton’s powers, but all have their own perverted take.  The cult sees him as their chosen one, the government as a weapon.  Early on in the film Lucas and Roy hide out with Alton at an ex-cult member’s house (played with perfectly subverted creepiness by David Jensen).  In the middle of the night, the whole house shakes and Roy and Lucas run into Alton’s bedroom where Jensen’s character is doing “that eye thing” with the child – perhaps a creative veil meant to symbolize child abuse at the hands of the religious?  Later in the film after Lucas and Sarah’s conversation about belief, Roy duct-tapes a Kevlar vest to Alton’s small frame (for his protection, of course) which eerily echoes the images of child suicide bombers with bombs strapped to their chests (they, too, fulfilling a destiny).  Yes, indeed, we got people dying (and killing) everyday believing in things.  This kind of subtext is becoming Jeff Nichol’s trademark, and where his writing and directing is able to build tension and elicit primal emotional responses from his audience.

In this way, Nichols masterfully uses the science fiction genre as a vehicle to explore modern-day societal fears.  Continue reading

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Crazy Mothers, Scrappy Kids, Idiot Fathers and Humorless Dictatorships in The Babadook, St. Vincent, Wish I Was Here and Rosewater

It’s that time again for The Spin to whip up a seemingly random hodgepodge of recent films viewed in theaters, on VOD and on Netflix and draw tenuous lines connecting their themes while passing judgment on the merits of their attempts to be profound or entertain.

All of the films feature main characters dealing with serious father issues, three are from first time feature film directors, three of the films feature troubled and/or precocious kids, two feature single mothers raising sons, and two were funded by Kickstarter.  Here’s the rundown:

Babadook Poster 1

First up is the Kickstarter-funded first feature from Australian writer-director Jennifer Kent currently playing in select theaters and available on VOD.  In The Babadook (a title, that like the film, can take on multiple meanings), a single-mom/nurse (Essie Davis, absolutely outstanding at becoming unhinged) is struggling to raise her out of control, starving for affection and monster-obsessed six-year old son (Noah Wiseman, effectively obnoxious and cute and seriously troubled) whose father died in a car crash on the day he was born.  Their toiling roiling relationship reaches a fever pitch when a creepy would-be charcoal-etched kid’s book, Mr. Babadook, finds its way into their house and refuses to be ignored.   The film, an expressionistic psychological thriller neatly wrapped in a horror gift box, is derivative as hell but also smartly crafted to show the damaging effects of not dealing with grief, unmanaged stress, sleep deprivation and paranoia.  The creepy music, sound effects, cinematography, and art design are all well woven by Kent, who hints at a very promising future.  The ending will be a let down to some, but like the best psychological thrillers, is open for multiple interpretations depending on whose POV (the mother’s or the son’s) one takes.  The Babadook represents the best of what films can and should get funded through Kickstarter and is a creepy fun ride for anyone with any passing interest in psychology and the horrors of a human mind unwound. Continue reading