Rating summary

Movie		3.5
Video		4.5
Audio		4.0
Extras		5.0
Overall		4.0

10 to Midnight Blu-ray Movie Review

It’s very strange to watch 1983’s “10 to Midnight” in 2019. At the time of production, the goal of the movie was to condemn a legal system that permits known criminals to plead insanity, giving them a chance to escape severe charges, even released from prison after a short time, reunited with the world they wanted to destroy. Such rage is evident in the screenplay by William Roberts, who sets up a fairly simple tale of a madman tracked by cop who understands the full range of the perpetrator’s guilt, but can’t connect the dots for a proper arrest. What pops out from the feature today is its depiction of toxic masculinity and “beta male” rage, with the serial killer showcased here not a monster of mental fracture, but a damaged individual who can’t wrap his mind around a society of women who want nothing to do with him and his distorted ways. In many ways, “10 to Midnight” is a prescient endeavor that identifies such subculture development long before it was organized by social media and message boards. That’s not to give the film tons of credit, but watching “10 to Midnight” today is a lot creepier than it was probably meant to be. The unstoppable cop routine remains compelling, with star Charles Bronson doing what he does best: scowling at bad guys. However, there’s something more interesting brewing here beneath obvious sleaze and police procedure, with director J. Lee Thompson tapping into violent insecurity to mastermind a proper opponent for his hero, who, interestingly, isn’t a very noble man himself.

10 to Midnight Blu-ray Movie, Video Quality 

The AVC encoded image (1.85:1 aspect ratio) presentation offers a "New 4K scan of the original camera negative," with Shout Factory trying to give a fairly grimy feature some HD shine for its second release on Blu-ray (this first being a Twilight Time disc from 2015). The effort is noticeable, offering a relatively filmic viewing experience for a production that wasn't blessed with cash to keep things slick and sharp. Detail survives throughout, picking up on fibrous suits and casual wear. Skin surfaces are natural, showcasing proper particulars. Urban excursions are dimensional. Colors retain vibrancy, leading with period clothing, which surveys bright primaries, and greenery is ideal. Skintones are secure, handling the enormous amount of flesh on display. Blood red is bold, and set decoration remains inviting with home and office paint jobs. Delineation is strong, making sense of evening activities. Grain is pleasingly heavy but not sludgy. Source is in decent shape, without major elements of damage.

10 to Midnight Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA sound mix also shares clear signs that the production wasn't exactly aiming for precision when they put the film together. Some technical limitations are found here, but the overall listening event is intact, with compelling dialogue exchanges, preserving Bronson's cool delivery and Davis's far more agitated ways, with his screaming fits staying within comfort levels. Soundtrack selections are a bit sharper, with less fullness, hitting limits during a party sequence. Scoring fares better, with a satisfying synth sound, supporting suspense and investigative needs. Atmospherics are blunt, along with sound effects. Mild hiss is detected along the way.

10 to Midnight Blu-ray Movie, Special Features and Extras 

• Commentary #1 features writer/historian Paul Talbot.

• Commentary #2 features producer Pancho Kohner, casting director John Crowther, and film historian David Del Valle.

• "Producing Bronson" (12:41, HD) is a surprisingly emotional interview with Lance Hool, who wins the weirdest location for a Blu-ray interview award, sitting on an airport tarmac while fielding questions about "10 to Midnight." Hool discusses script development, eager about the project before it was eventually sold to Cannon Films, who wanted the movie to launch their distribution division, but worked hard to shave the budget down before shooting. Hool discusses the violence of the feature, along with its then timely subject of the basic insanity plea for obvious criminals. An overview of the producer's time with director J. Lee Thompson is shared, but a more personal touch is recalled with Charles Bronson, with their relationship moving on to 1984's "The Evil That Men Do."

• "Remembering Bronson" (6:00, HD) turns to actor Robert F. Lyons, who offers a recollection of Bronson's personal conduct on-set during the making of "10 to Midnight," where he remained elusive for social engagements but prized thespian professionalism. Lyons also points out Bronson's change in attitude whenever wife Jill Ireland was near, with the tough guy melting around his beloved spouse. Lyons concludes with an appreciation for the blunt ending of "10 to Midnight," and co-star Gene Davis's commitment to his character's extensive nudity.

• "Knife and Death" (6:55, HD) is an interview with actress Jeana Tomasina, who explores her professional origin story before joining "10 to Midnight," doing business in Chicago at the Playboy Building before finally succumbing to pictorial requests, moving to Los Angeles at the behest of a producer. Tomasina discusses her limited exposure to Bronson and her inability to cook, which inspired Thompson to use a hand model during a breakfast preparation sequence. While Tomasina is proud of her time on "10 to Midnight," she's quick to credit her appearance in a few Z.Z. Top videos as her big break into the business.

• "Charlie's Partner" (10:46, HD) is a sharply informative chat with Andrew Stevens, who comes prepared to analyze "10 to Midnight," which reunited him with Bronson after their work on 1981's "Death Hunt." Steven shares his enthusiasm for the "10 to Midnight" screenplay, also embracing a comfortable L.A. shoot with Thompson, recounting his strange habit of shredding and chewing on paper. Stevens runs through his memories of co-stars, finding Lisa Elibacher a remarkable kisser, while Davis was distant during the shoot, trying to remain in-character. Stevens recounts his time with Bronson, offering an amusing anecdote about the icon's need to feel safe in any area he's in, with Stevens presenting his veteran co-star nothing but icy silence to prove his commitment to professionalism. Steven also mentions a reunion with Bronson years later at a social event.

• Image Gallery (6:56) offers publicity snaps, international poster art, newspaper ads, and lobby cards.

• Radio Spots (1:39) presents three commercials for "10 to Midnight."

• And a Theatrical Trailer (2:14, HD) is included.

10 to Midnight Blu-ray Movie, Overall Score and Recommendation 

"10 to Midnight" is exploitation, with Thompson not above disrobing almost everyone in the cast before the killing commences, with female stars often rendered topless before expiring, while Warren prefers to slaughter innocents in the nude, giving the antagonist a bold display of confidence, playing into his sick, sexual fantasies with a revenge plan that keeps him naked, often wielding a knife. There's no real cat and mouse material here, just a gritty run-through of perversions frosted with legal world outrage. Shortcomings are obvious with low-budget filmmaking, but Bronson leads a capable cast (including Wilford Brimley, Geoffrey Lewis, Lisa Elibacher, and Andrew Stevens, doing a fine job as Bronson's younger partner) through the ins and outs of R-rated aggression from Cannon Films. Intended outrage is summoned with some dips into police corruption (though such displays are dismissed as necessary evils to achieve justice), and a modern day viewing brings out a whole new layer of mental illness that accurately reflects real- world issues.