The Midnight Sky Doesn't Quite Light up the Screen

Studio : Netflix, Poster

If it’s Hollywood, in all likelihood, it’s the end of the world. Why not, the demise of man has made some of the most iconic moments - just ask the Statue of Liberty. The Midnight Sky is the latest attempt to eradicate human life from planet Earth, and I was definitely along for the ride. Of course, there’s an individual journey and a global journey. But the personal story arc of George Clooney’s character overtakes the global drama, and the genre search for a larger message is completely thrown off. So, at the end, no one is carrying a torch and outstretching their arms to signify the brilliance.

On the other hand, the juxtaposition is definitely possible and Signs comes to mind. An alien invasion points to the end of the world - until we realize that the M. Night Shyamalan film is really about one man’s faith. The final revelation is so profound that you have no choice but to put aside the larger story.

Based on the Lily Brooks-Dalton novel, The Midnight Sky doesn’t quite live up. Nonetheless, an unnamed atmospheric event has laid waste to the surface of the Earth, and three weeks later, there doesn’t seem much hope.

The Arctic Circle is apparently the garden spot and Augustine defers evacuation with the rest of the colony. “If I was in a hurry to die, I’d go with you,” Clooney deadpans.

Dr. Lofthouse was never much for living anyway. In other words, the pursuit of life elsewhere essentially made terrestrial considerations expendable. So no room for the woman who loved him, the single-mindedness doesn’t play very well when the world’s end is contrasted against the regretful flashbacks.

Clooney's grimaces and empty glares definitely make us feel the pain, but the void has not been for naught. The good doctor's lust for silence uncovered a habitable moon in the friendly grasp of Jupiter’s gravity and represent the last hope for humanity. A previous mission en route has confirmed the new Eden, and their return hopes to pave the way for a real evacuation.

However, the big picture suddenly takes a back seat. A little girl (Caoilinn Springall) has stowed away, and Augustine is confronted with the humanity that he had put aside long ago. Appalled at first by his misfortune, Augustine forms a connection with Iris’ shy silence, and it really becomes clear the price he has paid for his choices.

On the other hand, the past proves too much, and Augustine defers to his standard fall back - cut and run. The scientist furiously embarks for the functioning antennae with the girl, and the unlikely duo trudges the perilous elements to radio the evacuees. Sorry, the uninvited guest must go so Lofthouse can be left to his penance.

The ledger doesn’t balance very well on the other side of the solar system either. Thus, we’re set up with a standard crew. Felicity Jones and David Oyelowo are the couple trying to navigate the travails of a relationship and space travel, Kyle Chandler and Demián Bichir are the elder statesmen who pine for their families, and Tiffany Boone is the young rookie. She gives us the innocent naiveté that signals hope and doom.

But the mission obviously goes off course, and for predictable action, adventure sake, there’s debris, collision and the inevitable heartbreak. The remaining crew does press on, and once in visual range, the end of the world scenario takes precedence. Of course, by this time, Augustine is in contact with the crew, and the discourse puts the drama in position for the dueling denouements.

From on high, the symbolism is pretty biblical and gives pause as the final moments unravel the intended metaphors. Intriguing but the revelation is not profound enough for a cautionary tale.

Still, the tie is made between the little girl, Augustine and the crew. The heartstrings pull tight, and Clooney’s final delivery really does a number. Unfortunately, the Netflix release doesn't have the, “See, Swing away,” moment of Signs and ultimately fails to illuminate.

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