John Russo is nowadays largely derided for his efforts to 'repackage' NIGHT OF THE LIVING DEAD – a film on which he served as editor – for a 30th anniversary audience. This involved shooting ridiculous new footage and generally attempting to change the film for the better, but what happened? He created a travesty instead. Anyway, the wannabe-director was also involved in some rural Pennysylvanian horror flicks back in the 1980s, producing the ultra-cheesy slasher THE MAJORETTES and directing this, a bleak black magic thriller that surprisingly manages to recreate some of the sleazy atmosphere of those '70s grindhouse flicks where bad things happen to young people.
Of course, MIDNIGHT is put together on a shoe-string budget, so technically it's not very accomplished. The storyline is meandering and slow in places, and there are some stupid or unbelievable moments. Still, it managed to hold my interest for the entire run time. Where the film is effective, however, is in the landscape: there's an isolated backwoods setting for this film, a setting of desolate fields, abandoned farmhouses, and small towns where the locals are either racists or out-and-out psycho killers. Imagine the same kind of creepiness you saw in the likes of DELIVERANCE and SOUTHERN COMFORT and you'll have a general idea of the 'feel' of this film.
Russo's budget meant that he could only afford one 'Hollywood' actor, legendary tough guy Lawrence Tierney. This actor plays the role of a perverted policeman with designs on his own step daughter! I admit, I've only seen Tierney in the likes of RESERVOIR DOGS, where he didn't get the chance to do much, but he shines here – a real class act. The rest of the cast are amateurish, but the central trio of Verlin, Hall, and Jackson aren't bad at all, and I actually found myself warming to these youths as they ride around in their van. Watch out for a minor appearance from John Amplas, who essayed the titular role of George Romero's MARTIN.
When the horror eventually kicks in, we're left with a film detailing yet another family of hillbilly psychos, with an added black magic element. Yes, it's been done to death countless times before, and there's even a rip-off plot strand straight out of PSYCHO – and about a dozen other similarly-themed movies made in the 1970s. The good news is that Tom Savini's on hand to supply the gore effects, although they're limited and strained here and someone expecting the inventive nastiness of MANIAC or DAWN OF THE DEAD will be disappointed. Again, lack of money is a problem. Still, MIDNIGHT held my attention, and I was left feeling quite warm towards it once it was over. It's no masterpiece, and it's far from original, but even Russo's technical shortcomings can't disguise the heavy, oppressive atmosphere running throughout this minor effort.
Of course, MIDNIGHT is put together on a shoe-string budget, so technically it's not very accomplished. The storyline is meandering and slow in places, and there are some stupid or unbelievable moments. Still, it managed to hold my interest for the entire run time. Where the film is effective, however, is in the landscape: there's an isolated backwoods setting for this film, a setting of desolate fields, abandoned farmhouses, and small towns where the locals are either racists or out-and-out psycho killers. Imagine the same kind of creepiness you saw in the likes of DELIVERANCE and SOUTHERN COMFORT and you'll have a general idea of the 'feel' of this film.
Russo's budget meant that he could only afford one 'Hollywood' actor, legendary tough guy Lawrence Tierney. This actor plays the role of a perverted policeman with designs on his own step daughter! I admit, I've only seen Tierney in the likes of RESERVOIR DOGS, where he didn't get the chance to do much, but he shines here – a real class act. The rest of the cast are amateurish, but the central trio of Verlin, Hall, and Jackson aren't bad at all, and I actually found myself warming to these youths as they ride around in their van. Watch out for a minor appearance from John Amplas, who essayed the titular role of George Romero's MARTIN.
When the horror eventually kicks in, we're left with a film detailing yet another family of hillbilly psychos, with an added black magic element. Yes, it's been done to death countless times before, and there's even a rip-off plot strand straight out of PSYCHO – and about a dozen other similarly-themed movies made in the 1970s. The good news is that Tom Savini's on hand to supply the gore effects, although they're limited and strained here and someone expecting the inventive nastiness of MANIAC or DAWN OF THE DEAD will be disappointed. Again, lack of money is a problem. Still, MIDNIGHT held my attention, and I was left feeling quite warm towards it once it was over. It's no masterpiece, and it's far from original, but even Russo's technical shortcomings can't disguise the heavy, oppressive atmosphere running throughout this minor effort.