Mark Simpson finds Midway ‘dumb, numb and empty of cum‘
When I went to see Roland Emmerich’s teensploitation flick Midway this week I had low expectations. In fact, they were so low I almost ran aground on the way to the multiplex. Emmerich, the director-writer responsible for blockbusters such as Independence Day, Stargate, and The Day After Tomorrow, specialises in making movies as spectacularly awful as they are successful.
Why did I go? Because Emmerich’s films are aimed at teen boys – and I’m a classic case of arrested development. So is Emmerich, clearly – but I can only aspire to his level of adult cynicism, which has probably made him as wealthy as a war profiteer.
Midway, based on the pivotal 1942 Pacific naval engagement between the US and Japan which saw the destruction of much of the Japanese carrier fleet and the loss of their hopes of any kind of victory, manages to be even more stupidly awful than I expected.
But this time I doubt the stupid awfulness will be accompanied by stupid success. Not least because while the Battle of Midway may mean a lot to old queens like Emmerich – and me – raised on 1950s-60s Second World War movies, it probably doesn’t mean very much to the youths who are the film’s target market. The auditorium I saw it at one evening a few days after it opened was mostly empty – and I was somehow not the oldest person there.
Emmerich tries of course to ‘update’ things to get around this problem. So Midway is WWII re-run as a First-Person MMO Shooter – won by an excruciatingly cocky character called, I kid you not, ‘Dick Best’. Think Tom Cruise’s ‘Maverick’ (he’s often called a ‘cowboy’), but somehow much more annoying. Ed Skrein really knocks himself out in the role.
All the other men are droolingly in love with him and the size and heft of his virility – especially his handsome moustachioed boss played by that gay Brit actor who put Orlando Bloom out of work (Luke Evans).
After Dick sinks the Japanese Imperial Navy one of his fanboys announces, somewhat redundantly:
‘This war will be won by men who like dick best!’
(The ‘who’ may have been silent.)
What’s peculiar about Midway though is that for a film obsessed with dick and rammed with hot male talent, including professional manteaser Nick Jonas – and referencing Top Gun – how lacking in homoeroticism it is. Or any kind of eroticism, really – apart from, I suppose, the CGI explosions.
Midway isn’t just dumb, which would be entirely acceptable – it’s completely numb. Dumb, numb and totally devoid of cum. Even the homosociality is unconvincing and unfelt, which is quite an achievement in a movie set on board aircraft carriers filled with hundreds of young men. Perhaps this is because, paradoxically, the director likes dick best.
Emmerich is gay, and so may be inhibited on that front – lest he ‘let the side down’, especially in this age of gay respectability. It’s not impossible either that he’s a homo that just doesn’t get it – which is surprisingly common, I can assure you. But his biggest hits Stargate and Independence Day relied on cynically exploiting 1990s teen male homopanic and anal anxiety in a way that only a homo could.
In 2015 he apparently tried to atone for his sins with Stonewall, a flick celebrating the 1969 Stonewall ‘Uprising’ as its now called (why spoil a perfectly good bar riot?) – which I haven’t seen and have zero interest in seeing. It was panned by critics and activists and pilloried for its politics and lack of diversity. But what were people expecting from someone who makes movies about shit exploding while dudes high five?
As a side issue, Midway stars several Brit actors, as is often the way these days, playing Americans – including the lead, Ed Skrein. Oh, and waiting for it to start I saw a trailer for Knives Out, with Daniel Craig playing an American with a ripe southern accent.
Now, it’s fabulous that Brit actors are getting work, darling. But as a Brit watching Brit actors do American accents in Hollywood moovies, too often I find myself cringing like a limey. Skrein’s accent in Midway is like being keel-hauled by your ears. (He also seems to be doing something intensely irritating with his clean-cut-jutting All-American jaw.)
But apparently not to Americans, otherwise they wouldn’t keep getting cast. And you would think, wouldn’t you, that Americans are a better judge of an American accent than me. Is it perhaps prejudice on my part – because I see them as British, whereas Americans just assume they’re American? Or are as generous and open-hearted as I’m bitter and small-minded and so are happy to accept them and their goddamn stupidly awful accents as ‘American’?
Probably the latter.