Word “incel” wasn’t part of the vocabulary in the early 1980s. If it did, it would have perfectly described the antagonist of 10 to Midnight, 1982 crime thriller directed by J. Lee Thompson. Warren Stacey, played by Gene Davis, is young Los Angeles office repairman who is constantly rejected by women. As a result, he developed increasingly depraved and violent fantasies which he would ultimately try to turn into reality. Betty Johnson (played by June Gilbert), the last woman to reject him, is viciously stabbed together with her boyfriend while they were having sex. Leo Kessler (played by Charles Bronson), veteran police detective investigating the case, doesn’t need much to identify Stacey as the only credible suspect. However, Stacey is very organised and intelligent killer who has built a solid alibi and made sure that none of the forensic evidence is left. Frustrated with the inability to put dangerous killer away, Kessler decides to plant the evidence. The plan backfires due to Paul McAnn (played by Andrew Stevens), Kessler’s young and idealistic partner for whom tampering with the evidence is a line he wouldn’t cross. Stacey is now free to roam the streets and he uses this as an opportunity to take revenge on Kessler by targetting his daughter Laurie (played by Lisa Eilbacher).
Made by Cannon Films, studio (in)famous for making 1980s low budget exploitation pieces, 10 to Midnight obviously tries to exploit two popular 1980s trends – slasher films and vigilante films – by fusing them into one. As such, it was, like many such films, savaged by critics like Roger Ebert only to have modest box office success and establish fruitful relationship between Cannon Films and Bronson, who would become one of the studio’s greatest icons. From the distance of nearly four decades, much of the criticism looks unsubstantiated. Yes, the film indeed panders to the lowest instincts of male teenagers who were its targeted and most lucrative audience. However, the script by Thompson and William Roberts owes much more to the genre classics like Dirty Harry, to which a homage is paid in the final scene, and actually tackles some of the serious real life issues explored in that film. While the script, like many low budget action films from that era, claims that the US legal system failed to protect the society from the most vicious criminals, it also asks whether the attempt to solve that problem through vigilantism or bending the rules would ultimately create more harm than good. The script is also clearly inspired by real life – the main villain is modelled after notorious serial killer Ted Bundy, while one of the most harrowing scenes in many ways reconstructs 1966 mass killing committed by Richard Speck. Furthermore, scriptwriters also found the ingenious way to inoculate themselves from accusations of sexism. While the film features number of naked women being killed, the character who appear naked the most is the actual killer.
Gene Davis, brother of much better known Brad Davis, delivers a very strong performance that tries, and for the most part succeeds, in overcoming limitations of the script and some of the unfortunate lines of dialogue. He at times even manages to overshadow Bronson who possesses charisma but whose character usually isn’t that interesting, although his relatively undemanding role allows him to show some humanity under his stone face. Other members of the cast are also surprisingly good, including Geoffrey Lewis as sleazy but effective defence attorney and Stevens, one of Hollywood’s most underrated actors, in a serious role of policeman who desperately wants to do the right thing. Lisa Eilbacher transcends cliches of a relatively unneeded subplot related to her character’s estrangement from father; her “girl next door” look and warm personality bring a little bit of light in this dark and ultimately violent story. She is much more effective than her more glamorous colleagues in bit parts, like young Kelly Preston and Ola Ray (known as Michael Jackson’s date in famous Thriller music video).
All that, however, isn’t enough to elevate this film from merely watchable. Thompson directs his film with ease, but he can’t overcome problems with budget and some not so fortunate script decision, brought only to increase the body count or running time. The ending scene, while effective as homage to much better film, is far from being perfect. Somewhat tighter editing and removing few unnecessary subplots (like obligatory romance between Laurie and McCann) could have made this film much better. But, even in its present states, it could be recommended to viewers who like “guilty pleasures” or feel certain nostalgia towards 1980s.
RATING: 5/10 (++)
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