Does the idea of Charlie Bronson in a morally ambiguous pseudo-slasher film sound appealing to you? If so, join me in celebrating the 40th anniversary of the release of J. Lee Thompson’s 10 to Midnight. Executive produced by legendary B movie figures Menahem Golan and Yoram Globus through their beloved Cannon Films, the film pits Bronson against a Richard Speck-esque serial killer in an unapologetically sleazy and gritty Los Angeles. It was released in theaters on March 11, 1983.
Bronson plays widowed no nonsense police detective Leo Kessler. He’s soon partnered with the much younger Paul McAnn (Andrew Stevens) after two young lovers are discovered stabbed to death. Coincidentally, It turns out that the female victim was a childhood friend of Leo’s estranged daughter, Laurie (Lisa Eilbacher).
After another murder, Leo is convinced that the awkward and creepy Warren Stacy (constantly nude Gene Davis) is the culprit, but the weirdo has done well at covering his tracks. When Leo takes drastic action, it not only endangers the investigation, it puts Laurie in the killer’s crosshairs. We also get quirky character actor Geoffrey Lewis, Robert Lyons and his impressive mustache, and the always-welcome Wilford Brimley. Ola Ray, aka Michael Jackson’s girlfriend in the video for “Thriller,” and Kelly Preston (billed as “Kelly Palzis”) have bit roles.
William Roberts’ script, based on a story by an uncredited Thompson, takes some interesting twists. The end of the second act turns the film on its head and injects some moral ambiguity into the piece, though it doesn’t do much to change our perspective. Bronson is still the hero, just a little tarnished, and Davis is still the slimeball. However, it’s an interesting and unexpected move.
Additionally, while the narrative utilizes some slasher tropes, it frames them within a Dirty Harry-type structure. We spend a lot of time with Warren’s creepy ass (and I mean that literally in some ways), and though he’s reprehensible this approach does manage to build tension here and there. The blending of these genres works fairly well, though I’d say that at 101 minutes the film is a little sluggish at points.
Performances are fun, with a few moments maybe going slightly over the top. Bronson isn’t the most naturalistic actor, but he’s got presence and charisma to spare. He plays well off the livelier McAnn and Eilbacher. Davis gives a fearless performance, with the role requiring him to do multiple long sequences completely naked. Brimley doesn’t get much to do, unfortunately, and I’d say he’s the only big name that’s somewhat wasted.
Thompson crafts an unsettling atmosphere, but there’s not really much onscreen gore. Adam Greenberg’s cinematography is unobtrusive and focuses on telling the story. There’s plenty of T&A (with much of the A being supplied by Davis), which assists in manifesting the sleazy aesthetic. Robert O Ragland’s score is actually super cool and keeps the proceedings lively, for the most part.
J. Lee Thompson’s 10 to Midnight isn’t as straightforward as you might expect. It’s also not completely successful. With that being said, there’s still a lot of fun to be had here. Recommended for fans of the aforementioned Dirty Harry, as well as Death Wish, and Nighthawks.
Michael Cavender