Midnight

Stick with Elvira. "Midnight" feels like a cheap, low-brow and unimaginative send up of something that was already a send up. You just don't know where its head was at? I wasn't expecting any great shakes, but what I got was an annoying, dumb-down and witless horror comedy. Even with the likes of Lynn Redgrave and Tony Curtis, it's almost the pits. A fiendish, off-the-rocker Redgrave (who's really getting into her sour diva character?!) was terrible. A slumming Curtis faired no better, but the script they had to work with was just cringe-worthy. The majority of the characters are not really likable. The story simply goes through the motions. As it goes all over the place. Actresses competing for the affection of a toy-boy, millionaire producer trying to steal the business rights to Midnight's schlock horror TV show, before settling into a whodunit with sledgehammer mentality. And don't forget the fans… these are true fanatics. Might have been fun to make, but I found it less so to watch. "Midnight" is tacky, monotonous with little frights and even less so laughs.

Odd thriller about mysterious TV personality Redgrave who finds people close to her dropping like flies. Barely watchable, almost embarrassing.

It seems that Lynn Redgrave wants to do everything. She's done silly kids' films ("The Lion Of Oz), silly should-have-been-for-adults films ("Hansel and Gretel") shouldn't-have-been-done films (What Ever Happened To..."), and the list just goes on and on. That said, what in heck is this film supposed to be? Funny? I did laugh, but not too often. Dirty? It had some sex/nudity in it. Parody? I guess I missed the joke.

It seems that Midnight is a dead ringer (ha ha) for Elvira, Mistress of the Dark. They have the same job, but the similarity ends there. Midnight is not funny. There's the big difference between the two. Anyhow, she meets some guy and they do things. End of story. There are some freaky moments--when she describes her snake as a phallic symbol, you do get somewhat unnerved. He rides a motorbike really fast, which apparently says something about him. She thinks it's cool. I think it's dangerous and stupid. Oh well, that's why I didn't write the movie.

In conclusion, this movie is awful. It doesn't know what it's doing, and so you just won't know how to react. Well, one must give credit where credit is due. Lynn Redgrave is so far over the top you can barely see her, but she does what she can. She's frightening, occasionally funny, but always watchable. Nice try.

I recently watched Midnight (1988) on Tubi. The storyline revolves around a late-night horror movie host facing the threat of losing her show's rights and timeslot. To reclaim control, she takes matters into her own hands, enlisting a new lover and old friends to confront the investor.

Directed by Norman Thaddeus Vane (Club Life) and featuring Lynn Redgrave (Gods and Monsters), Tony Curtis (Some Like it Hot), Steve Parrish (Scanners III), and Karen Lorre (Mortuary Academy), the film is an apparent Elvira knockoff without much effort to disguise it.

The plot is predictable and lacks imagination. Norman Thaddeus Vane's presentation, direction, attire, and makeup were awful. Despite some enjoyable 80s nudity and Karen Lorre's attractiveness, the love story feels awkward, and the ending is cliché.

In conclusion, Midnight falls short as an Elvira parody, earning a 3/10 score. I recommend skipping it, as it's not be worth your time.

Norman Thaddeus Vane's Midnight is an extraordinary excursion into treacherous territory - horror film satire. This much-maligned genre lists many casualties, so Midnight's success is as refreshing as it is surprising. Comparisons are odious, but as Midnight came out shortly after Elvira, Mistress of the Dark, unfair comparisons are inevitable. The Elvira film is a squeaky-clean corporate product, none the worse for that, whereas Midnight has the raw edge and rough look of a truly independent film. But Midnight's claim to fame are some truly remarkable performances.

First off, Lynn Redgrave virtually bursts through the screen in a bravura performance which is utterly breathtaking. "Over the top" is a term which diminishes this amazing portrayal of an insecure, neurotic, embittered has-been, and there is more than a touch of Gloria Swanson in Redgrave's compelling character. Long takes with other actors confirm that Redgrave's training in the theater really pays off in these types of film roles - you just can't take your eyes off this conflicted diva as she prances around, spewing forth her own particular venom. (Midnight's back story really harkens back to that of Vampira, aka Maila Nurmu, more than Elvira, Cassandra Petersen, but that's apples and oranges - what Redgrave brings to the character is nothing short of brilliant.)

Tony Curtis, always up for playing a parody of himself, is marvelous as a miserable sob who ends up in a nihilistic love-hate death spiral with the indefatigable Midnight. Steve Parrish is quite amazing as a conniving, two-timing young actor who seems to be channeling the spirit of either James Dean or Marlon Brando throughout his entire performance; Parrish's character is thoroughly charismatic, and thoroughly despicable. Karen Lorre is notable as a sleazy, bed-hopping starlet, illustrating perfectly that great beauty can hide great evil. Also worth noting is Gustav Vintas, doing his best impression of Erich von Stroheim.

There are several viable subtexts woven throughout Midnight, perhaps the most relevant being the capricious nature of fame and the dubious value of being a victim of an obsessive cult of celebrity. There's abundant references to many other films and tropes here, Sunset Boulevard being the most obvious, but Midnight works almost solely on the strength of the four main characters, each a performance worthy of an Oscar. Midnight is a bright light, shining the sheer power of performance, in a decade full of hacks, amateurs and wanna-bes.