The June 1942 sea-air battle off Midway Island was a turning point in World War II. However, the melee of combat was the usual hysterical jumble of noise, explosion and violent death. Midway tries to combine both aspects but succumbs to the confusion.
Midway solemnly cross-cuts between the war councils, chart rooms and communications offices on the American side and those on the Japanese side, with characters, who often have to be identified by subtitles, laboriously trying to give us all of the exposition necessary to make the battle coherent. There's no way to act such roles.
Midway never quite decides whether war is hell, good clean fun, or merely another existential dilemma. This drab extravaganza toys with so many conflicting attitudes that it winds up reducing the pivotal World War II battle in the Pacific to utter nonsense. [28 June 1976, p.78]