Midnight

My review was written in September 1989 after a screening at Manhattan's Westside cinema.

"Midnight" is an amateurish Hollywood satire typified by atrocious overacting, consistently unfunny gag lines and pathetic in-jokes. Pic didn't draw flies during its Gotham midnight bookings, and video prospects are poor.

Lynn Redgrave toplines (pulling faces and screeching her lines as if intent on dominating 1989's worst acting sweepstakes) as a tv horror hostess copied after Elvira but with a crude Tallulah accent. She's warring with her greedy network boss Tony Curtis, while romancing yong gigolo Steve Parrish, an aspiring actor who moves into her mansion.

When killings of her adversaries occur, beginning with he double-crossing agent Frank Gorshin, no suspense is generated since writer-director Norman Vane slavishly imitates the classic "Sunset Blvd." -right down to a doting Stroheim-like butler played by Gustav Vintas.

Thesps are poorly directed right down to the gawking extras. Lighting and editing are poor. Karen Winter provides alluring pulchritude as Parrish's new love interest while Redgrave is fitted out with ugly makeup and unflattering costumes and hairpieces.

Though Curtis and Gorshin have scenes together, Vane foolishly misses the chance for some genuine humor by not pairing Gorshin's classic Burt Lancaster carbon to Curtis a la "Sweet Smell of Success".

Pic's oddest element, undoubtedly unintentional, is the recurring imagery out of pro wrestling: Redgraves pet boa (wrapped around Parrish's neck apre sex) that looks like Jake (The Snake) Roberts' pet Damien. Parrish playing his big scene more like the antics of the Honky Tonk Man than his character's model James Dean and Elvis, and a bit part as a security guard played by no less than current rassling heel Zeus (Tiny Lister, Eddie Murphy's former bodyguard who co-starred in "No Holds Barred").

Lots of on-screen plugola includes Redgrave holding up a Hollywood trade paper to the camera (which duly earns a thank-you in the slow end crawl that pads pic's running time), a new low in product placement.

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.

All I could say when I saw this movie is "What the Hell?" I loved it. It was a perfect satire on "Hollywood". The clichés were so over-the-top, that it was ridiculous, and Lynn Redgrave's performance was impeccable. She was so specific with her character and so convicted, she looked like another person; and she was hilarious. She's such a bad girl; a very bad bad girl. I was surprised to see low rating for this movie. I think most people just don't get it. The movie is supposed to look cheesy, cheap, artificial, and over the top, and therein lies the art. And I feel that there's also a good connection because of Lynn Redgrave. Her character was so specific and eccentric, yet emotional and connected that she looked like a real f*%&%d up person. She was nuts and hilarious! I still laugh whenever I visualize "Midnight's" face. Definitely cult worthy.

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.

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