The Midnight Man

I can't see any reason why DC Hamilton and Brinna Kelly aren't household names yet. Both of the films I've seen that they've worked on together - this and "The Fare" - are outstanding in both writing and low-budget directing. I'm sold; they are both the real deal. This is an excellent little crime drama with a cool, unusual hook to it.

Hamilton knows how to get good performances out of actors, which is not as easy as it seems. And the art of making a tiny budget look great on screen is pretty rare too. This film definitely pulls that off.

Finally, let's especially hope that Brinna Kelly gets a lot more writing work before she's pulled in to full-time acting. She's obviously good at that, with a glamorous look and compelling personality, but she's an even better writer. Original story ideas combined with compelling characters - that's a rare thing to come by these days. This is highly recommended.

I watched this movie on accident rofl. i meant to watch the horror movie that came out in the same year with the same name. i was surprised when it turned out to be a fun action movie instead of a horror, i figured i made a wrong assumption based on the name. the movie wasn't horrible, it had some enjoyment, but was pretty sucky overall (1 viewing)

I was drawn to this film by the actress Brinna Kelly after watching her in 'The Fare'. I'm not quite sure that she's much of an actress yet I find her intriguing. She has an oriental attractiveness with an alluring presence. Grady, the assassin, seemed quite inept at times. Bungling his hits and getting out of scrapes by the mistakes of his captors. The film was entertaining and fun in a sort of B-movie way.

In a world where action movies become more visceral, more demanding in their production and cinematography, "The Midnight Man" employs a sluggishly poor combat. Nevertheless, it also offers a few funny exchanges with solid script and presentable acting performance. The end product is a somewhat enjoyably one night stand with glaring flaws which are forgivable depending on your expectation.

Grady (Will Kemp) is a fixer for a mob boss with unique ability to not feel pain. In one bad night, he must eliminate four targets that may have more connection than he thinks. There's a shade of Ryan Reynolds here, as Will Kemp dons a similar witty agent while running from one bizarre situation to the next. He gets the jester part right, although there's some shoddy moments when trying to emulate a hardened criminal.

Brinna Kelly as Zan, the unlucky paramedic who got caught in the crossfire, is a fairly decent love interest and weird partner. Usually, this kind of Jason Statham's Transporter suave romance doesn't pay off, but the acting and chemistry makes it work more often than not. The supporting cast like Doug Jones and William Forsythe also deliver on the outlandishly named and portrayed characters.

The problem, and it's a rather significant one, comes when it tries to do action sequences. It's utterly horrible, bordering on Bollywood level. This makes the sturdy, flamboyant or charismatic characters into feeble men trying to deliver a punch and fail. At a couple of points it becomes ridiculous, which perhaps might be serendipitous or even intentional, but it betrays the serious thriller tone it just builds for five minutes.

Messy and sketchy, but hilariously entertaining at times. it's a sloppy trudge through a peculiar night elevated by its clever and humorous script.

I was expecting a weak thriller also-ran, but instead I got a very entertaining, unusual drama. A lot of movies are challenged by how to inform the viewer about what's going on, but the addition of a hostage is well engineered and gives us our everyman for exposition. She also provides a fantastic foil for a somewhat complex idea and has great chemistry with the protagonist.

A very unusual concept sets the movie apart but doesn't mire us down in overlong explanations or monologues. In fact many ideas that might have been over-dramatic in other movies are efficiently dispatched with a few lines. For example, establishing that our hostage has a young daughter (and thus a vulnerability) is handled in about three lines of dialog. I say this as a compliment, as the screenwriter has expertly relied on the audience to pick up on things instead of spelling out every single detail. This gives the dialog (and the movie) a very comfortable, natural feel.

The biggest twist of all was learning who wrote and produced the movie - a fantastic first outing for a pretty talented actress. I hope we see a lot more from her in the future.