10 TO MIDNIGHT
10 to Midnight was one of a number of films that Charles Bronson made under British director J. Lee Thompson. J. Lee Thompson has been directing since 1950 and is best known for classics like The Guns of Navarone (1961) and Cape Fear (1962). Together Thompson and Bronson made St Ives (1976), The White Buffalo (1977), Capoblanco (1980), The Evil That Men Do (1984), as well as the aforementioned Cannon vehicles Murphys Law, Death Wish IV, Messenger of Death and Kinjite. J. Lee Thompson once seemed a highly promising director, particularly on the basis of the excellent thriller Cape Fear, but by the 1980s was churning out slickly made trash where he seemed to forget everything that made his earlier films effective. During this period, Thompson made his worst film, Cannons utterly laughable remake of King Solomons Mines (1985), which is a strong contender for the Worst Film Ever Made. (See below for J. Lee Thompsons other genre films).
By the 1980s, Charles Bronson had become typecast as a poor mans Clint Eastwood. Indeed, 10 to Midnight is not that different from Eastwoods Dirty Harry (1971). Both 10 to Midnight and Dirty Harry feature a tough, grimly intent cop who operates according to his own black-and-white certainties. In both films, the hero is pursuing a serial killer they are certain is the right person but are prevented from dispensing justice by an overly liberal legal system.
Where Dirty Harry had a tough and unsentimental kick to it, 10 to Midnight comes across as merely slick and nasty. The films moral point-of-view is merely a sub-Eastwood rant on the inadequacy and restrictions of liberal law enforcement. Much of the middle of the film is contrived to moralise about how legal hair-splitting, concern for the rights of the criminal and the insanity defence, not to mention Geoffrey Lewiss caricature of a sleazy defence attorney, conspire to allow the guilty to go free The way the law protects these maggots, youd think they were an endangered species, says Bronson at one point. Typically for this type of film, the only solution that Bronsons cop has at the end is to dispatch the killer himself with a bullet.
10 to Midnight is made with smooth commercialness but this hardly disguises a sado-sexual voyeurism behind the cheap morality, which only makes such an attitude doubly hypocritical. Bronson, as always, has both the physiognomy and expressiveness of a brick wall. It is also hard to believe that 10 to Midnight could come from J. Lee Thompson, the same director who also made the brilliant Cape Fear, a film that has become a template for a great many modern psycho-thrillers. It should also be pointed out that the title 10 to Midnight never actually refers to anything in the film.
J. Lee Thompsons other films of genre interest are: the classic revenge psycho-thriller Cape Fear (1962), the occult film Eye of the Devil (1967), the Communist China spy thriller The Chairman/The Most Dangerous Man in the World (1969), Conquest of the Planet of the Apes (1972), Battle for the Planet of the Apes (1973), The Reincarnation of Peter Proud (1975), the Western The White Buffalo (1977) with Charles Bronson hunting a mythic buffalo, the slasher film Happy Birthday to Me (1981) and the adventure film King Solomons Mines (1985). Thompson also co-wrote the scripts for the very strange psycho-thriller East of Piccadilly (1940) and the bizarre time travel/adventure film Future Hunters (1986).