The Midnight Sky: A Mix of Sci-Fi’s Greatest Scenes

The premiere of The Midnight Sky during the Christmas holidays was far from accidental. You won’t find any philosophical musings on science’s unsolved mysteries here, nor any deep exploration of the symptoms of the catastrophe ravaging Earth. At its core, this is a very intimate film that uses its sci-fi backdrop primarily to highlight the emotional and physical isolation of its characters. With that in mind, let me warn anyone expecting a plot that builds toward a spectacular climax – this isn’t the film for you. On the other hand, I must also caution those hoping for a heartfelt emotional punch or a tear-jerking experience. Again – not the right address. That doesn’t mean the film can’t be a moving experience.

But it does require a great deal of patience, especially when confronting the hollow second act, which consists largely of the characters wandering back and forth. We’re introduced to a few characters who share the spotlight equally for the duration of the film. On Earth, we meet the clearly worn-out Augustine (George Clooney), a scientist who chooses to remain on the icy surface of the Arctic. Convinced he’s alone, he’s in for a shock when he encounters a young girl (Caoilinn Springall) at the facility. From that moment on, he does everything he can to contact a group of astronauts returning from a mission – unaware of the apocalypse that has befallen their home planet and cut them off from communication.

The production feels like a compilation of the best scenes from Gravity, Interstellar, and even Logan (though the latter to a lesser extent than it might initially seem). There’s a dangerous spacewalk, a longing for family, and an older man forming a bond with a little girl meant to bring out the last remnants of his humanity.

But soon we start asking ourselves: what’s the point of it all? After a swift setup and character introduction, the story stalls for a long stretch of narrative emptiness. Occasionally, we get bits of background through flashbacks to the scientist’s past or the crew members’ memories, but the goal remains vague, and the stakes – nonexistent. This raises a further question: why should we care? While the situation with the girl and Augustine is emotionally clear – the man has exiled himself, while the girl is there by accident and needs saving – the astronauts’ fate leaves us mostly indifferent. Especially since the cause of the apocalypse is treated with such extreme secrecy it feels like the setup for a major twist, yet for most of the film, we have no idea why Earth became so inhospitable or why the characters shouldn’t return.

I won’t spoil the answer, but let’s just say: don’t expect to be shocked. Thankfully, this bland story is wrapped in high-quality production. The set design is impressive, and some visuals – like Sully (Felicity Jones) gazing over a mountainous landscape with an alien planet dominating the horizon – are poster-worthy. The real star, however, is George Clooney, not as a director, but as an actor. His portrayal of a life-weary, regretful, self-destructive old man exudes authenticity, and Clooney proves he can express a vast range of emotions with just his eyes. An actor mostly known for playing charismatic heartthrobs, here he steps outside his usual mold and, most importantly, does so successfully.

It’s a pity the same can’t be said about the rest of the cast. Despite big names like Jones, Kyle Chandler, and David Oyelowo, none of the supporting characters leave a lasting impression. That’s a significant problem, as the members of the expedition each seem to possess only a single character trait. What unites them is a shared theme: the need for emotional closeness. That theme might be considered the film’s central point. Based on the novel Good Morning, Midnight by Lily Brooks-Dalton, the movie focuses on loneliness and longing for human connection. It’s an extremely sentimental and subdued production – perhaps too much so, as staying awake through to the end becomes a challenge. All attempts to form an emotional bond between the viewer and the characters fall flat – ironically, there’s a lack of connection. As a result, The Midnight Sky ends up as empty as the catastrophe-ravaged Earth or the hostile expanse of outer space. I have to agree with the filmmakers on one thing: you’re better off spending time with your family.