A Midnight Clear

1992

Drama / War

123
Rotten Tomatoes Critics - Certified Fresh 88%
Rotten Tomatoes Audience - Upright 79%
IMDb Rating 7.1 10 8,250

Synopsis


Downloaded times
January 12, 2021

Director

Cast

Ethan Hawke as Sgt. Will Knott
Gary Sinise as Vance 'Mother' Wilkins
John C. McGinley as Major Griffin
Peter Berg as Bud Miller
720p.BLU 1080p.BLU
991.38 MB
1280*720
English 2.0
R
23.976 fps
108 min
P/S N/A / N/A
1.8 GB
1920×1080
English 2.0
R
23.976 fps
108 min
P/S N/A / N/A

Movie Reviews

Reviewed by SgtSlaughter 10 / 10 / 10

It Spoke to Me (possible spoilers)

There's a lot of mixed comments floating around out there concerning this film. I'd consider myself a war film fan. Now, at the time of this writing, if you look at my user comments most of those reviews are for Italian trash flicks. But I own a good 250+ war films; this is one of those that stuck with me. Ethan Hawke takes a patrol (made up of scared kids) to a French house during the Battle of the Bulge. Their mission is basically to snoop around for German activity. They run into a squad of equally scared teenage soldiers, and arrange a mutual peace. But at the last moment, something goes wrong... While at least 70% of war movies rely on loud explosions and gunfire, fast-moving action, quick cutting and other action to keep the viewer involved in the story, A MIDNIGHT CLEAR relies almost completely on great acting and visual stimulation. Leading the young, talented cast is Ethan Hawke. He's mostly an introver, keeping to himself, thinking out the logic of every situation. He's not the most experienced soldier in the unit, and knows it, so he leaves most of the tactical decisions up to Avakian (Kevin Dillon of PLATOON). "Father" Mundy (Frank Whaley, WHEN TRUMPETS FADE) is the good-natured guy who wants to become a priest. Miller (Peter Berg) goes along with the others in the group. Stan (Arye Gross) is a Jew with only one goal in mind. They all look out for "Mother" Wilkins (Gary Sinise from PATH TO WAR, in the best role of the film), who's gone more than half-mad after losing his newborn back home. Curt Lowens (TOBRUK) also makes an impact as an aging German soldier who just wants to go home. The script is nearly perfect, providing each actor with excellent material. Hawke's narration is often funny, but when one thinks about it, what he's saying is not far from the terrible truth. The scenery is great; the entire film looks like it was filmed in - well - the Ardennes. The colors have been played around with a bit, and throughout the film you'll feel as though you're wandering through a dream. The few combat scenes are used to shock - not entertain. The one really gut-wrenching movement involves the fake ambush, with men pointlessly killed on both sides. Blood stains the beautiful white snow, and all of the innocence is lost. Just watch this film and see how much damage war does on the minds and nerves of the men involved - on both sides. This is what it was like: scared kids, sometimes still in their late teens, who knew what to do when they had superiors commanding them. But when they got out on their own, what will they do? It's like THE THIN RED LINE, only here the men seem real. They're not a bunch of pretty boys who talk and act as though they graduated from Oxford. They're kids from a variety of lives who are trying to make the best of a bad situation, which is all you can do during wartime.

Reviewed by Evolvist 9 / 10 / 10

A Dead Boy Named Matt

There is the classic, or `Golden Age,' of WWII based movies, from the 50s, 60s and 70s; and then there is the age of ultra-realism: those movies about WWII (or any war for that matter), that because you can show more on film, be more graphic in war's depiction, and because cinema has changed so much, it allows us to see more of how war actual was, instead of the watered down versions we had been getting for years. Don't get me wrong. When most of us speak of such classics like `Sands of Iwo Jima,' `The Longest Day,' or `A Bridge Too Far' (and so many other great WWII movies), we are perfectly right to sing our praises of such timeless standards. Nevertheless, there is a good chance that we should be even more grateful for these modern WWII gems that have raised the bar to permit us a closer glimpse of how this war really felt to those who fought in it. I suppose all I can say at this point would be to watch `A Midnight Clear,' and perhaps you would understand why I would choose this movie to be ranked only behind the likes of `Band of Brothers' and `Saving Private Ryan.' Then watch some other modern ultra-real WWII flicks like `When Trumpets Fade,' `Das Boot' and maybe even `Cross of Iron;' and then gauge for yourself. `A Midnight Clear,' though not really smacking of anti-war themes, yet showing the futility and absurdity that only propels us to hold our breath; it is a perfect example of not only reality, but of how a WWII movie works with probably no more than 50 rounds fired throughout the whole film. Poetic (though not as much as `The Thin Red Line'), great dialog, and a premise that is built much on fact. Largely based upon a true story, and taken from the book by a WWII veteran that was actually there, this movie keeps great company among the new ultra-real films; and it simply moves me. I hope it moves you, as well. 9.4

Reviewed by lost-in-limbo 9 / 10 / 10

"I'm scared all the time."

It's a war film, but an atypical and sober one at that. Probably war drama fits better. As there's a whole lot more to it than just action. On that count it has its moments, but really it's about the characters (if something of a coming of age) and the realisation that their enemy is just as reluctant and afraid as them. The script is meditatively thoughtful and the performances by a capable cast (Ethan Hawke, Kevin Dillon, Peter Berg, Gary Sinise, Frank Whaley, Arye Gross and John C. McGinley's pig-headed Major Griffin) are genuinely layered. This helps draw you in, feeling the joy but also the tragic nature that waits. It absorbingly paints the foolishness of war, where in a serenely ironic manner it all pans out. It follows a small young American reconnaissance platoon nearing the end of WW2 in Eastern Europe, which was put together due to them having the highest I.Q. in the army. Thinking that they would get better results, however on their mission they come across a patrol of German soldiers hiding from their inevitable fate and a special, if strange bond is formed between the two parties. Written and directed by Keith Gordon (who I'll always remember him as Arnie Cunningham from John Carpenter's 80s horror flick "Christine"), he does an effective job tailoring the welcoming humanity and the painstaking horrors of war through the visuals, dialogues, atmospheric surroundings and performances. The narrative moves back and forth early on dealing with past events that brought these American soldiers together, before settling on the straight-and-narrow. The material is rather offbeat and mellow, especially when it came to the interactions between the two groups. What seems unfathomable, becomes reality and then even playful (snowball fights?!). There's something simply haunting and forlorn about this presentation and you could probably attributed it to the beautifully moody, if glassy music score. It just stays with you. Like the final shot of the film, where the camera pans onto Hawke's face of despair and this is one powerfully heartfelt moment. "A Midnight Clear" is quite low-key and unpredictable in all, but hard to forget. "I'm through playing soldier."

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