Midway

Already done a disservice by one clumsy cinematic retelling of their World War II heroism, the real-life servicemen depicted in Midway are now given a second helping of big-budget Hollywood spectacle.

As with its star-studded 1976 predecessor, this version directed by Roland Emmerich (Independence Day) downplays the grit and fortitude of U.S. Naval troops who helped shift the tide in the pivotal Battle of Midway. Instead, it whips six months’ worth of Pacific Theater into a slick and moderately suspenseful package of wartime cliches.

The film starts with the ambush at Pearl Harbor in December 1941 and culminates with the titular three-day clash between the American fleet and the Imperial Japanese Navy that paved the way to American victory in the Pacific.

More specifically, it chronicles a squadron stationed on an aircraft carrier led by Dick Best (Ed Skrein), a charismatic dive bomber pilot and unit commander, and his partner (Keean Johnson) who doesn’t appreciate his daredevil tendencies.

Other recognizable names pop in for some key sequences, including fleet admirals Chester Nimitz (Woody Harrelson) and Bull Halsey (Dennis Quaid), and General James Doolittle (Aaron Eckhart), whose famed air raid on Tokyo is a footnote here.

They orchestrate the buildup to Midway, preparing for a surprise attack via a coordinated air, land, and sea effort that catches their Japanese counterparts shorthanded.

The film’s technical proficiency yields a visually impressive mix of special effects and period touches. Highlights include a handful of exciting action sequences, especially in the heat of conflict, when we’re airborne riding in the cockpit of these Dauntless bombers.

However, while parts of Midway appear well researched, rookie screenwriter Wes Tooke oversimplifies the sociopolitical landscape, and behind-the-scenes diplomacy and strategy, in favor of transparent flag-waving propaganda and bravado.

The shallow characters don’t warrant much emotional investment, especially when spouting such derivative dialogue. But at least they have an uncanny ability to avoid enemy fire.

Emmerich’s action pedigree doesn’t suggest much subtlety, and the elaborate high-stakes finale gets the adrenaline pumping in formulaic fashion.

Behind the barrage of bullets and fireballs, the film means to salute its subjects, perhaps introducing them to a younger generation now that almost all of them are gone. Yet this effort is too ambitious in scope and embellished in execution to assist in cheating on a history test.

Rated PG-13, 138 minutes.