Based on a real life family of robbers in Australia, this film dives deep into crime and the paranoia associated with a family where even the bonds of blood can't guarantee safety.
The Gift. 2015. Directed & Written by Joel Edgerton.
Starring Jason Bateman, Rebecca Hall, Joel Edgerton, Allison Tolman, Tim Griffin, Busy Philipps, Adam Lazarre-White, Beau Knapp, Wendell Pierce, Mirrah Foulkes, Nash Edgerton, David Denman, Katie Aselton, David Joseph Craig, & Susan May Pratt. STX Entertainment/Huayi Brothers Pictures/Blumhouse Productions.
Rated 14A. 108 minutes.
Joel Edgerton is a triple threat – he can act, write, and direct. The first thing I’d seen him do as a writer was the exciting film The Square. That same year, he put in a stellar acting performance as Ian Wright in the underrated dark thriller Acolytes. Next, he was spot on Barry ‘Baz’ Brown in David Michôd’s Animal Kingdom, and another solid screenplay in 2014 for director Michôd’s The Rover. So to see him in The Gift with all three barrels blasting, starring on top of directing and writing together, it is truly phenomenal.
While this movie wasn’t exactly as great as the hype suggests, Edgerton does craft a very deep, at times highly disturbing thriller with lots of human drama and intrigue, weaving the story of two men together in adulthood concerning a terrible secret from when they were children. Most of all, Edgerton explores how we never really know people. Not fully, not all of them. Some hide things, unnerving and even awful things. And this is a story about when those secrets in the past crawl their way into the lives of people in the present. Often with horrific consequences.
Simon (Jason Bateman) and Robyn Callum (Rebecca Hall) are a well put together married couple. They eventually want to have children, but other than that everything is wonderful. Until along comes Gordon ‘Gordo’ Moseley (Joel Edgerton), an old high school acquaintance of Simon. He starts showing up unexpected at their home, usually bearing a gift. Except this continues and continues to an odd length. Soon, Simon feels he has to tell Gordo to back off.
However, the past is tricky. Not everyone, even those married and close to one another, knows the people around them completely. Everybody has a secret. It just so happens some are worse than others. And the secret Simon’s been hiding is certainly worse. As the presence of Gordo in their lives starts to threaten their plain, enjoyable existence, Simon and Robyn are confronted with how the past can taint the present forever.
Aside from Edgerton, whom I dig, Jason Bateman is part of why I immediately found myself drawn to The Gift. He’s someone how has impeccable comedic timing and delivery, so to see him in something darkly serious is interesting. He does a good job with the character of Simon. What’s fun is that the character begins at one end of the spectrum, commanding our empathy for the situation in which he finds himself, as well as the fact his wife is inadvertently drawn into his past. Then by the end of the movie we’re questioning exactly where the loyalties lie as viewers. He is no longer worthy of our empathy, but at the same time we’re left to question how much punishment he actually deserves. One thing’s for sure, the true colours show and we finally see who Simon was all those years ago.
There’s also Rebecca Hall, she is a treat as usual. Here she gets a better role than most of the other films I’ve seen her in, as the character of Robyn is complex, endearing, and of course once the movie has run its course there is so much more involved. She plays the role well and she definitely has chemistry with Bateman, even Edgerton, too.
And Edgerton, he does a fine bit of work. Gordo is a nerve wracking character who’ll make you nervous almost every last second his face is onscreen. Whereas Edgerton often has a fairly built physique, or a manly build, whatever you want to call it, Gordo is more sheepish. He isn’t lost of confidence, not at all. But physically he isn’t imposing, he is sort of odd, awkward, and that makes him even more menacing in a way.
The sad and smiley faces are something that warn you right away. Gordo’s stuck as a young boy, one used to writing notes across the class with pretty girls, smiley faces and all. This is an immediate clue, even from the first smiley, that something is amiss. Of course he’s a bit creepy all the time. There’s something about the notes, the smiley and later sad faces drawn on, which bring your attention to something traumatic. People who go through various kinds of trauma at a young age can often find themselves stuck in that age, often times for the rest of their lives. So later, once things are uncovered more and more, we’re clued into the fact that these little droplets of character actually mean something. It’s weird from the start, but gains further eerie significance after more story details fall into our laps. That’s part of why Edgerton’s script is really enjoyable. Despite being a fairly slow burn for most of its run there are so many moments to hook you in, keep you glued to what’s happening.
Spoiler Alert: if you’ve not seen the film, do not go on. I’m about to discuss & spoil the ending.
Personally, I don’t think Gordo raped Robyn. To me he doesn’t seem like that type, no matter if he’s a creep. And above all, because he didn’t need to do that. All he required was the seed of doubt. Plant that in Simon’s head once and it’ll never go away. Simon would spend the rest of his life wondering, likely afraid to say anything about but all the while allowing it to consume him. That’s the greater revenge, in my opinion. Now there are some people I saw complaining about the rape angle being used here as a plot device, and I identify as a male feminist, so I understand there are films which really do exploit these types of situations and events. The Gift is first and foremost about the specter of abuse, rape, sexual assault. Because going back to the original events which spurred Gordo on, they were fictitious. So why not give Simon a taste of his own medicine? That’s what it all hinges on, in my opinion. Gordo wanted Simon to experience exactly what he did. Right down to a big fake-out.
Ultimately, this is definitely a 4-star dramatic thriller with a good dose of mystery. Joel Edgerton’s done a fantastic job crafting a tense story. With the stellar main trio of performances this script comes alive. Sure, it is slow and at times moves with a snail’s pace. But that’s never a bad thing if the plot is compelling. And The Gift is absolutely compelling, if anything. It engages you with a highly adult story that stems from childhood, making you question how people change, can they actually change, is it possible to shake off the devastation of the past, among many other questions begging for an answer. The finale might shake many people. Even as a seasoned horror veteran, the end of the film is still shocking in its own right. Regardless, the whole ride is worth taking. Hopefully Edgerton takes on some more films soon as director because he’s got incredible sensibilities for directing in terms of shot composition, pacing, all the necessary elements. Only a few flaws to be found, but otherwise this is a taut, suspenseful piece of cinema.
Midnight Special. 2016. Directed & Written by Jeff Nichols.
Starring Michael Shannon, Joel Edgerton, Kirsten Dunst, Jaeden Lieberher, Adam Driver, Bill Camp, Scott Haze, Sam Shepard, Paul Sparks, David Jensen, Sharon Landry, Dana Gourrier, Sharon Garrison, Allison King, & Sean Bridgers. Faliro House Productions/Tri-State Pictures/Warner Bros.
Rated PG. 112 minutes.
When it comes to independent films, Jeff Nichols is a writer-director I’ve admired now for a few years. Shotgun Stories in 2007 was a great little movie that tackled the flawed masculinity inherent in Southern blood feuds as it examined two sets of half brothers in the aftermath of their father’s death. It also starred the wonderful character actor Michael Shannon, whom many have grown to love as of late particularly. Later, in Take Shelter again starring Shannon, Nichols took us into a highly psychological world that bent the limits of reality, begging us to wonder whether or not the events onscreen were real, or if they were just manifestations of the lead character’s troubled mind. Mud was an interesting, subtle look at people on the fringe, how they come together, and how they survive.
But now, teaming once more with Shannon alongside a slew of other wonderful talents from newer (Adam Driver) to classic (Sam Shepard), Nichols breaks out with an emotionally charged, intelligent, slick thriller that runs the gamut of family drama and adventure to science fiction. Midnight Special is a lot of things. Above all, it is engaging. In a day and age of remakes – some good, a lot terrible – big budget blockbusters without any soul, Nichols’ films are continually a ray of light. This is no different. There are many things to enjoy. And if I can suggest anything, go in without knowing anything. Even the plot. It won’t ruin things if you do, but the beginning is even more tense and filled with excitement if you’re relatively clueless.
And for that reason let’s just dig right in.
The plot is a lot of fun. Despite knowing from trailers that the film is heavily science fiction, there’s a very raw human drama to the opening few scenes. It doesn’t stop there either. As Roy (Michael Shannon) and Lucas (Joel Edgerton) rush Alton Meyer (Jaeden Lieberher) around from one place to the next, under cover of night, all we know of the situation for sure is that there’s a massive hunt for the boy, an amber alert, everything. So if you had no better idea it’d seem like a truly distressing situation. But slowly, Nichols lets the information trickle down. What starts and continues as a human drama also takes on elements of a larger, more complicated, complex universe that Nichols has created.
We’re introduced to people from The Ranch, the men dressed in suit and ties, the women dressed like Jehovah’s Witnesses. They all seem to have a strange fascination, or rather obsession, with little Alton. And the gravity of everything is so evident. Not only are Roy and Lucas transporting Alton extremely secretively, to the point of gunning down a cop early on, it seems the father is dead set on protecting the boy. There are a ton of things happening, too. In a movie that’s just a little shy of two hours in length, Nichols packs a good punch. All the different aspects of the screenplay are pretty well fleshed out without having to be too full of exposition. Plus, things get real action oriented past the half hour mark, which then takes the pacing to another level. The first thirty minutes are a nice, effective slow burn that picks up steam quickly heading forward.
When we finally start to see more of Alton and his powers, the whole movie gets infinitely more interesting. More and more, scene after scene, Nichols reveals further bits of the boy’s abilities. Yet there’s a cryptic nature to them until late in the game. We’re never cheated, but Nichols definitely draws it out. Expertly. The suspension and tension as the plot moves on at a steady pace really will get your heart rate up, in the best kind of sense.
Alton: “What‘s Kryptonite?”
Lucas: “It‘s the only thing that‘ll kill Superman”
Roy: “It‘s made up”
There is never enough Michael Shannon. He’s a talented actor whose work is consistent. Even in movies that aren’t so great (i.e Man of Steel, The Iceman, Premium Rush), his talent makes things more interesting, more credible. He can really disappear into a lot of different roles, which is why he’s best deemed a character actor. His strength is that he’s got the handsome look, though there’s something odd about him, too. He has an affable quality, then there is a dangerous, strange side to him that can come out just as easily. Here, he plays a devoted, loving father pushed to the limit. He is a father under special circumstances. So there’s all this conflict in his character, but above all he is a father who wants to protect his son, no matter what the cost. And he’s forced into a blind faith, all out of love for his boy. A great performance, well written role.
The rest of the cast are equally as excellent. Edgerton is a fantastic talent (also a good writer) and he plays well off Shannon. They’re very believable together, which is honestly something I never predicted beforehand. What I like is that Edgerton has the same kind of qualities as Shannon, except in a different way. He is at once that manly, tough-looking kind of guy when he wants to be, at others he has a sensitive quality. In addition, Kirsten Dunst is good here as the mother of Alton, estranged from Roy. I’ve long said she is a solid actor, having recently given a complex performance in Season 2 of Fargo. She adds an extra, intriguing aspect to Alton and Roy, as a family. That brings us more of the family drama that makes Midnight Special a more interesting science fiction themed film than many others out there.
When the action gets pounding the film never lets up. There are moments where it’s a chase movie, others the guns start to fly. Sometimes we get wild expressions of Alton’s powers. All the while, the cinematography by Adam Stone captures everything so naturally, and in turn beautifully, even in the moments of pure speculative fiction that happen throughout. Add to that some really great synthesizer score from composer David Wingo, and those moments of tension where things are tight, the pulse is pumping, they become more intense. Sometimes it’s a semi-homage to the 1980s, but most of all it is simply an effective bit of electronic music that serves to augment a film; like any good score should.
This is all around an excellent film in terms of its visual components and its sound, not just the score but also the design. There are too many moments to list really. But Nichols, as director, crafts Midnight Special into a beautiful piece of work aided by these two artists.
Absolutely a 5-star film. There are so many derivative science fiction works out there, in movies and literature. It’s nice to see Jeff Nichols take the initiative and make something different. He lets everything flow out organically, never pushing the plot too much or too far, but rather just allowing it to unfold. The science fiction, though utterly central to the story, is not always the most interesting element. The family, the cult at The Ranch, the relationship between father and son, the relationship between best friends Lucas and Roy; so many things take precedence over the presence of a little boy with sort-of-super powers. Everything comes together here and Midnight Special takes its rightful place near the top of the best list of modern science fiction over the past couple decades. Nichols turns this into something completely unexpected. By the time it’s over, you won’t know what hit you.