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  • A very solid movie! Charles Bronson is absolutely great in this film. The fact that the killer was a handsome guy really emphasized that he was a sociopath and all around creep (smart character development). Lisa Eilbacher is damn cute! A good psychological action/thriller!

    I do not understand why people consider this a "cheesy?" movie or a "rip-off" of Death Wish.

    Leo Kessler is a hardened cop. Paul Kersey was an architect who took on the role of vigilante after a life changing event. The two characters really aren't that similar at all.

    I wonder what Lisa Eilbacher is up to nowadays.
  • One user comment sums this movie up as "standard fare"?! When push comes to shove there really isn't anything standard about "10 to Midnight."

    The villain is a young, deeply disturbed man who turns on by knifing people to death in the nude, and needless to say the movie is filled with a large amount of nudity.

    The hero is a veteran homicide detective who decides to stop at nothing to get his man, even if it means fabricating evidence. The latter part is portrayed by the grand-daddy of all tough action heroes, Sir Charles Bronson (OK, I know he wasn't a Sir, I just wanted to see how it looked :) Compared to most of the other movies Bronson did with director J. Lee-Thompson here he really turns in a memorable performance as detective Leo Kessler. Take for instance the scene where he finds the chief-suspects electric vagina, the look on Bronson's face is worth the price of admission alone! And the interrogation scene later where Bronson confronts the suspect with his sex toy: priceless!

    The finale deserves notice for being both disturbing and downright scary, with it's echoes of the real-life Richard Speck-massacre in 1966.

    If you are a Bronson-fan you are almost guaranteed to like "10 to Midnight", one of his best from the 1980's.
  • From the director who brought us The Guns of Navarone and Cape Fear in the 60's, comes this interesting and suspenseful cop thriller. Charles Bronson plays a veteran cop who's with a young idealist cop is after a very smart and dangerous killer who likes to slice pretty and innocent chicks. The most interesting aspect of the film is that we know from the beginning who the killer is and for the rest of the film it's a mind game between Bronson and the killer who knows very well how to manipulate the system. This is definitely not to the squeamish one's because this is fairly a brutal film but from the intelligent kind. I'm familiar with Bronson's works and this is surely his best from the 80's. Anyone who looks for some highly entertaining film shouldn't miss it. Never mind the user's ratings because it's one of those underrated gems.

    Recommended
  • In Los Angeles, the rookie Detective Paul McAnn (Andrew Stevens) teams up with the veteran Detective Leo Kessler (Charles Bronson) to investigate the murder of Betty Johnson (June Gilbert) and her boyfriend that were stabbed by a naked serial-killer in a park. Detective Kessler recognizes the victim, who lived in the same neighborhood many years ago and childhood friend of his daughter Laurie Kessler (Lisa Eilbacher). The killer Warren Stacy (Gene Davis) goes to the funeral and overhears Betty's father telling Detective Kessler that his daughter had a diary.

    Warren breaks in Betty's apartment and stabs and kills her roommate Karen Smalley (Jeana Tomasina) trying to find the diary. But Karen had already delivered the journal to Detective Kessler. Leo Kessler is sure that Warren is the serial-killer and her plants a false evidence in his apartment. However, Warren's defense lawyer presses Detective McAnn accusing him of perjury and Warren is released. Now the Warren is stalking Laurie to revenge against her father.

    "10 to Midnight" is a classic thriller from the 80's and among the best movies of Charles Bronson. I saw this film two or three times in the past and I have just seen it again. The unexpected reaction of Detetctive Leo Kessler is the climax of this great film and gives an unforgettable conclusion to the story. My vote is eight.

    Title (Brazil): "Dez Minutos para Morrer" ("Ten Minutes to Die")
  • Warning: Spoilers
    Charles Bronson and director J. Lee-Thompson made nine movies together, and 10 To Midnight certainly makes a worthy attempt at being the kinkiest, sleaziest and most violent of the lot. I expected this to be a real bottom-of-the-barrel entry considering the subject matter, and the fact that Bronson was appearing in one tired revenge-fantasy after another at this point of his career, but Ten To Midnight isn't a total loss. It has a few entertaining set pieces, an interesting moral core, a modicum of suspense during some of the murder sequences, and a decent enough soundtrack courtesy of Robert O. Ragland. Alas, when all is said and done, it is still a fundamentally unpleasant exploitation piece in which the slaying of nubile – and often nude - young women, by a naked knife-wielding psycho no less, is served up for our viewing pleasure. It's not exactly art… it's one of those movies you need to come into accepting for what it is.

    Weird and voyeuristic office youth Warren Stacy (Gene Davis) has a real problem with women, especially when his overbearing advances are met with rejection and humiliation. However, he gets his revenge by tracking down any women that have refused him and brutally murdering them with a huge knife. Rather perversely, he commits these killings in the nude to avoid leaving any fibres or other incriminating evidence at the crime scene. Old-fashioned cop Leo Kessler (Charles Bronson) is assigned to catch the killer, and partnered with inexperienced rookie Paul McAnn (Andrew Stevens). It doesn't take them long to figure out that Stacy is their man, but pinning evidence on him proves a much trickier challenge. Ultimately Kessler decides to plant incriminating evidence to get the killer jailed, but his plan goes awry and Stacy is soon back on the streets feeling meaner than ever. With Kessler's daughter Laurie (Lisa Eilbacher) the next in line to be killed, it becomes a race against time to stop the psycho before he strikes again…

    10 To Midnight is not an especially well-acted film. Bronson is in his typically wooden '80s mode; Stevens spends the movie looking handsome but vacant; and Davis looks physically powerful as the bad guy but sounds kind of goofy as soon as he speaks in his peculiar "idiot-drawl". Of the main characters, Eilbacher at least does OK as Kessler's daughter and the killer's potential next target. There are some lulls between the murders and action bits, and the film struggles to maintain much interest when it isn't focusing on these sensational aspects. But fans of Bronson's unique style of squalid, simple, blood-and-thunder action flicks will probably come away satisfied, while the rest of us are left to pick at occasional morsels of quality in an otherwise exploitative potboiler.
  • Warning: Spoilers
    you'll have to forgive me for that outburst of enthusiasm, but there really is no other way i could be summarizing this comment. It's not a Charles Bronson vehicle, because it has a lot of good elements by which this movie could still work very well if Bronson weren't playing the leading role.

    Kevin Bacon look-a-like Warren Stacy as the psycho killer switches swiftly between cruelty and self-piteous anxiety, with a funny Hispanic accent. which makes the dirty talk he delivers a treat. The manhunt and the killings are well interwoven until the finale, which would look fine in a slasher flick if only it were gorier. That resemblance - together with the hard-boiled style of action film-making nowadays replaced by bullet-time and the soundtrack - gives this movie that cool 80's feeling so refreshing to a child of the 90's.

    Charles Bronson is in great shape as the investigating detective, possibly because he sort of reprises his signature role, Paul "Death Wish" Kersey. On one hand his position as a law enforcer gives him more tricks to keep up his sleeve (such as planting evidence), on the other he's obliged to catch psychopaths by the book. However, he wouldn't be Bronson if he didn't book the book in the end and solved the case with a .38 solution. We end the movie by staring into the barrel, which brings me to my biggest frustration: we didn't have to wait 90 minutes to see Bronson take out scum like that in Death Wish. Give me a good investigation any time, but don't leave it to born gunslingers such as Bronson or Schwarzenegger.
  • Rubbed Raw30 November 1999
    A very exciting cop movie, which picks up where Dirty Harry left off and raises very similar moral questions. Bronson is in top form and the villain is one of the most interesting of the eighties. Don't just take my word for it. Gene Siskel liked it, and Joe Bob Briggs picked it as one of the years top films.
  • Warning: Spoilers
    After grossing millions of dollars as a 1970s icon, Charles Bronson appeared in 'Death Wish II,' which began his tenure with Cannon Films and redefined him as a low-budget action star. Bronson became a sizable draw amongst exploitation fans, particularly at second-run movie houses, on cable television, and in the home video market. Besides the Death Wish series, he maintained his presence in films such as '10 to Midnight,' 'The Evil That Men Do,' and 'Murphy's Law' for over a decade.

    '10 to Midnight' is perhaps the best film of an association between Bronson and director J. Lee Thompson that lasted from 'St. Ives' in 1976 until 'Kinjite: Forbidden Subjects' in 1989. Thompson, best known for 'The Guns of Navaronne' and 'Cape Fear,' also made a cycle of low-budget films in the '80s that included 'The Evil That Men Do,' 'Murphy's Law,' 'King Solomon's Mines,' and 'Firewalker,' starring Chuck Norris. Despite their better days having passed, '10 to Midnight' is a riveting film that comes early in Bronson and Thompson's exploitation output and features some of the talents for which they're remembered.

    Rehashing ideas from 'Dirty Harry,' Bronson plays Leo Kessler, a Los Angeles detective who is investigating the brutal murder of a secretary and her boyfriend. Thanks to an unpleasant opening sequence, we already know that a handsome but deranged man named Warren Stacy (Gene Davis) is the culprit. It seems that Warren has major issues with women; he doesn't have much luck in getting dates and when he does spend time with a lady, things don't get very far.

    Stacy exacts his revenge by hunting these women down and impaling them with knives. Of course, Stacy is a hard suspect to nail because he commits the murders while fully naked, making blood quite easy to get rid of. He's also an expert at constructing alibis; on the night when our secretary and boyfriend are murdered, Stacy makes himself visible in a movie theater shortly before and after the killings occur.

    With the police on his tail, Stacy becomes a 1980s Macbeth, plotting against everyone connected to the original victims. Kessler and his young partner McAnn (Andrew Stevens) are desperate to put Stacy behind bars, especially with Kessler's daughter Laurie (Lisa Eilbacher) targeted as a friend of the deceased. The courts are keeping Stacy free on a lack of evidence and Kessler must finally resort to extralegal measures.

    '10 to Midnight' uses the elusive killer theme championed by Alfred Hitchcock. Unlike other Cannon films in which Bronson is the lone point of interest, '10 to Midnight' alternates nicely between the warped deeds of Stacy and the anxious police work of Kessler. Gene Davis is a solid presence throughout, displaying enough menace in his role to coexist with Bronson.

    A script by William Roberts and Thompson gives unusual depth to Bronson's character. Bronson is also helped by a respectable supporting cast that includes Andrew Stevens, Lisa Eilbacher, and Wilford Brimley (as Captain Malone). Stevens complements Bronson as his partner, the son of a teacher whose intellect Kessler views as a hindrance. Geoffrey Lewis is excellent as Dave Dante, Stacy's repulsive trial lawyer who knows all the shortcuts of our court system. Kelly Preston has a small role as one of Laurie's roommates (under 'Kelly Palzis') and Robert F. Lyons is featured as a Los Angeles prosecutor.

    '10 to Midnight' offers ideas similar to 'Dirty Harry,' in that American justice is full of loopholes used by criminals. The film takes a brief look at our courts and how a police officer must actually break the law in order for justice to be served. The film does everything in its capacity to ram this point home: besides Stacy mutilating women in the nude (requiring a few odd-angles), Kessler interrogates Stacy with a sex toy found in his apartment and obscene phone calls are made to Kessler's daughter in a mock-Spanish accent. '10 to Midnight' has given TV editors added job security over the years; television broadcasts are edited so heavily for the nudity, violence, and foul language that much of its impact is lost.

    Instead of being hampered by cheap production values and technical work, J. Lee Thompson plays off these weaknesses to give '10 to Midnight' an added seediness. Much of the film takes place in drab, confined locations with poor lighting; combined with Adam Greenberg's soft-toned photography, '10 to Midnight' has an unremitting gloom that adds to Stacy's menace. The film also runs a concise 102 minutes and displays Thompson's gift for pacing. '10 to Midnight' is a procedural with scarce action, but the film never drags; Thompson uses flashback, alternating viewpoints, and periods without dialogue to maintain suspense. The soundtrack by Robert Ragland has a 1970s feel that only enhances the dismal setting.

    '10 to Midnight' is available on a budget DVD from MGM Home Entertainment. The disc offers both widescreen and standard format in mono audio with subtitles in English, French, and Spanish; 10 to Midnight's theatrical trailer is included as a lone extra. Picture and audio quality are fairly good considering the low budget that Thompson originally worked with; there is occasional grain but few artifacts and Robert Ragland's quirky music comes through nicely. While vulgar, violent, and in poor taste, '10 to Midnight' is a highly effective thriller, arguably Bronson and Thompson's strongest outing of the 1980s. It doesn't rank anywhere close to their previous films, but '10 to' is nevertheless intense, well-written, and memorable.

    *** out of 4
  • ... Could a tag-line possibly sound more Bronson-like? J. Lee Thompsons "10 To Midnight" of 1983 starring the great late Charley, is a decent cop flick, not nearly one of the most memorable Bronson flicks, but still a pretty suspenseful little thriller that will highly entertain all my fellow fans of everybody's favorite no-nonsense ass-kicker.

    Warren Stacy (Gene Davis) is a psychopathic serial killer who gets his kicks by running around naked and stabbing his victims to death. He does not randomly select his victims, but kills, because he wants to get back at the women who have rebuffed his advances. Leo Kessler (Charles Bronson) is a tough and experienced cop, who doesn't hesitate to use unorthodox methods to get justice done. When Kessler investigates the murders he has to find out that the latest victim was a close friend of his daughter's (Lisa Eilbacher). Accompanied by his rookie colleague Paul McAnn (Andrew Stevens), Kessler soon finds out who the murderer is. Warren Stacy is quite smart, however, and never leaves any evidence. Things quickly get personal between Kessler and Stacy, and you know Charley B. - he's probably not the guy you wanna mess with.

    "10 To Midnight" differs from the majority of other Cop vs. Serial Killer thrillers, since the viewer knows from the very beginning who the killer is. The movie focuses on the strife between Bronson and the serial killer, and builds up suspense by focusing on the serial killer and his possible victims. Since Bronson has to use illegal methods in order to get justice done ("Forget What's Legal... Do What's Right!") the film is, of course, politically incorrect as hell; But isn't that exactly what we love about Charlie Bronson? The man takes the law in his own hands and doesn't mind the bad guys getting hurt - If you don't like it, stop whining. Bronson is great as always and Gene Davis delivers a great performance as the serial killer, very wooden and therefore very creepy. Lisa Eilbacher, who play's Bronson's daughter, is very cute, and Geoffrey Lewis is great as the killer's sleazy lawyer. Some folks complain about poor editing in this movie, I don't really see why. One of the things I didn't like was the fact that the killer was rather one dimensional. "10 To Midnight" may lack depth, but it is a suspenseful film, certainly no masterpiece, but nonetheless a decent thriller that Bronson fans should like. I recommend to watch this, and to have a beer doing so.
  • Warning: Spoilers
    (WARNING: POSSIBLE SPOILER AHEAD!!!!)

    This flick was released around the time of the "Dirty Harry" film which featured Clint Eastwood saying: "Go ahead, punk. Make my day."

    My brother in law and I watched "10 to midnight" together, and when it first came on he told me I'd have to see the entire film to learn why a Charles Bronson line at the very end was in his opinion on a par with Eastwood's famous phrase. I'm sure since "Joe Bob" reviewed this film he had something to say about the same Bronson quote in this flick.

    Anyway, I was drawn into this film. It was intriguing to see Bronson catch the killer, then lose him due to the reasons listed by others here, then warn the freed criminal that he was going to stick with the killer throughout his return to society until he broke down and killed again. Bronson was almost obsessed with setting his quarry up to commit the crime. (Not that the plot was similar, but I seem to remember a similar though more flawed obsession in Bronson's cop-in-Japan film "Kinjite".)

    Eventually, the killer reappears and makes the hollywood-scripted fatal plan of attacking girls in Bronson's daughter's sorority house. After showing up au naturel with a knife and flowers and dispatching one sister he sets off after Bronson's daughter, chasing her down an alleyway until Bronson steps in to protect his daughter with one arm and draw a bead on the attacker with the big handgun held in his other arm. The police show up and cuff the killer, who stands and faces his pursuer.

    Then comes the quote, with the killer's words paraphrased but the meaning intact:

    KILLER: "It's all right. I'll be back. You set me up, and my lawyer will get this case thrown out. I'll never go to jail. YOU'LL HEAR FROM ME AGAIN."

    BRONSON: "No we won't."

    You'll have to see the movie for the rest. But my brother-in-law was right...it DID turn out to be a pretty good line. ">)
  • Movie Nuttball21 February 2004
    10 to Midnight is really an unusual film! The film is still shocking to this day! Charles Bronson was excellent in it and Gene Davis put on an incredible performance! Wilford Brimly is also good here! Good music and direction! If you like the cast above and really bloody and surprising thrilling films then watch 10 to Midnight!
  • gridoon4 December 2000
    A crossbreed of a typical Bronson cop flick and a typical slasher entry, this low-budget thriller is routine but strangely watchable. Bronson himself seems rather indifferent this time, and he even gets less screen time than the mad killer he pursues. (**)
  • Special credit for Gene Davis 10 to midnight is obviously one of the best maniac-killer movies presented by legendary Menahem Golan and Yoram Globus. Lieutenant Leo Kessler (Charles Bronson) and detective McAnn (Andrew Stevens) are investigating a murder of sexual character. It's done professionally: no evidence, no witnesses, and 100 percent alibi. The killer is skilled enough to get naked before cutting the girl he feels jealous for. First there are no links but as the Warren (Gene Davis) has to kill once again to get fully cleaned, Kessler knows for sure who's doing all this after the second killing. But there's problem, they still have no evidence. But what worries Kessler most of all is that the first victim was making friends with his own daughter and the killer is already interested in her. Kessler decides to put the Warren behind bars whatever it costs, because he knows the guy's unstoppable: the thing is the "poor" guy is vengeful for he's always been refused by women. So Kessler fabricates the evidence by getting some blood of the first victim on the jacket Warren was supposed to be wearing that day, that evening when the girl was killed. Unfortunately his plan doesn't work because McAnn is too young to agree solve the case that way. Lawyers win the court and Warren straight after that continues troubling Kessler's daughter with his threatening phone calls. What do you think Mr. Bronson will do now? Rather smart movie with impressing characters, alerting plot and simply excellent score. Very pleasant atmosphere, lot of memorable. Gore account is average for 80's. For instance, in the part Bronson's reading victim's diary to the suspect, Warren nervous reaction doesn't have much to do with cops in his apartment, he gets mad learning how many boyfriends the girl had. The girl that kept him far. Especially I want to point Gene Davis has really got deep into his character's head. A mentally demented guy with no friends, no parents, no women sympathy. Hiss acting really has something to remind Brad Davis from "Midnight express", that's why I give special credit for his play. Highly recommended! 10 out of 10.
  • Warning: Spoilers
    10 to Midnight: 8 out of 10: Wow this was a pleasant surprise. Part cop/vigilante film (It is a Charles Bronson movie after all), part slasher film (With effective white creepy kid psycho Gene Davis) and part nudie film. (Everyone is naked even the killer. Though thankfully not Charles Bronson) 10 to Midnight works surprisingly well (No film given zero stars by Ebert is all bad except Freddy got Fingered and The Life of David Gale. In fact if you want a library of exploitation classics Ebert's zero star reviews is a very good place to start).

    What Roger objected to is the film is sleazy. Guess what it is. Yeah I hate it when sleaze rears its ugly head in my otherwise fine exploitation movie. And this is a true exploitation movie. Naked nurses, naked serial killing and Charles Bronson doing a Mark Furman with a vial of blood. Nothing puts a smile on my face faster.
  • 10 to Midnight (1983) was another one of old stone face's exploitation films that he seemed to crank out every other month during the 80's. The two Chucks (Norris and Bronson) seemingly released a film like every other week. That's what we need, bi-weekly cheesy action whitesploitation movies. Well Charlie was up to the task in this one and Cannon was ready to foot the bill.

    A sexual confused serial killer is stalking co-eds. The killer has Charlie stumped. Along with a new partner, he stalks the streets looking for Mr. Goodbar er... the mad manic maniac!! Old Chuck seems to be on the right trail but the law that he's sworn to upheld swing both ways.

    Pure sleaze. If you're looking for a good movie look elsewhere, this is grade z Charles Bronson. Slumming for a paycheck whilst losing any creditability he had as a serious actor. But their are folks who actually dig Mr. Emotion earning his pay acting in terrible films. I happen to be one of those. I can't tell by his "acting" but Mr. Bronson seems to dig his new role in Hollywood.

    For fans only.
  • Warning: Spoilers
    A serial killer Warren Stacy (Davis) stalks women, mostly ones he knows and murders them while he's butt naked. Warren is a the typical lonely weird guy who keeps to himself while working as a typewriter repair man at the same time getting the cold shoulder from the women who work there. So he starts to kill them. He stalks one of them and using a knife he strips down nude and then guts them. Leo Kessler (Bronson) and his much younger partner Paul McAnn (Steven's) get on the case to track the killer down. With a little snooping it's not hard to find the creep who acted a like a weirdo around her. But Bronson had trouble getting hard evidence against him comes up short. So Bronson plants blood from his first victim on his clothes in a attempt to nail the killer. Warren and his lawyer (Lewis) know its bs because he is always naked when he kills. McAnn gets pressured by the defense to look into what really happened and finds out that Bronson planted the evidence. They are forced to let the pervert out and Bronson gets fired. The cat and mouse game begins between Warren and Bronson, before he manages to go after Bronson's daughter and kill more women. Just before Warren is about to kill her Bronson confronts him. Warren says he'll plead insanity and that he couldn't help it. Bronson being a logical guy is not going to let him get out again and blows him away. Thank God.

    This another great roll for Charles Bronson. It's basically the same role he came to play many times as the no nonsense cop who is fed up with the system and takes law into his own hands. Though he doesn't go to the levels of the Death Wish series, he stays more grounded in reality in this one sticking to just planting evidence and only blowing away one guy at the end. So the body count fans may be disappointed. This does not take away from the movie and probably improves it in many ways and not becoming one big shoot out. Not that it's bad mind you. You shouldn't expect the greatest of acting here and no one will care, its overall a good 80's watch who like to see justice done. Bronson is basically the same as always and the other actors look like their collecting a pay check. I would say that the best actor would be Davis playing the role of the weird killer. He really looked creepy in this. One other thing to mention in this is there is a lot of nudity in this film, far more than I saw in most of the big horror films of the 80's. Not only are the women naked a bunch of times, but the killer himself kills in the nude. Interesting the TV version has him in tight under where. Fair amount of blood gushes too when he stabs at them. Apparently the nut was based on a guy Richard speck who murdered a bunch. Overall I would probably give about eight out of ten stars. Don't listen to the critics, who cares what they say? This is a good Bronson outing and should not be missed.
  • Sure, some will throw they're vote to Death Wish or Telefon, but 10 to Midnight provides such a rich tapestry of Bronson cop movie cliches that to my mind it is all one need see.

    The film has minimal Bronson action, the best Bronson lines (choice sample You know what this is for, Warren? It's for JERKING OFF! and moves along at a clip.

    Another of those fascist post-Dirty Harry cop roles where the viewers' is sealed early as the movie goes to great lengths to make it clear that the killer is guilty even before we see Bronson.

    Fantastic Bronson stuff.
  • 10 TO MIDNIGHT

    Aspect ratio: 1.85:1

    Sound format: Mono

    A world-weary LA cop (Charles Bronson) plants evidence on a young man (Gene Davis) suspected of the serial homicide of several beautiful women, but the plan backfires and Davis subsequently targets Bronson's grown-up daughter (Lisa Eilbacher)...

    One of a series of gritty urban thrillers inspired by the success of DEATH WISH, J. Lee Thompson's 10 TO MIDNIGHT is a fair addition to this much-maligned subgenre. Bronson plays a well-meaning (though hopelessly misguided) cop desperate to apprehend a psychopath who strips naked before murdering his (primarily female) victims. The explanation for this glorious, gratuitous beefcake is that the killer avoids detection by washing the blood from his body before getting dressed again, though it's surely no accident that the actor playing the role is a grade-A stud of the highest order! Further, Davis' extensive nude scenes lead to a number of curious plot developments (because he was naked when he committed his crimes, Davis knows that Bronson must have planted blood on his clothes, but he can't use that as a defence without... well, you get the picture), though cinematographer Adam Greenberg (GHOST, RUSH HOUR, the "Terminator" series) turns visual cartwheels to avoid full frontal nudity (and a potential X rating).

    Thompson - who gravitated towards Hollywood after forging a successful career in the UK, where he directed a number of popular mainstream entries like YIELD TO THE NIGHT and THE GUNS OF NAVARONE - takes enormous pleasure in foregrounding the more exploitable elements of William Roberts' lively screenplay, though an unpleasant sequence near the end of the film evokes queasy memories of Richard Speck's true-life killing spree in 1966, when several nurses were slaughtered in a Chicago townhouse in a fashion similar to the killings depicted here. For all its excesses, however, the movie is conservative in thought and deed, depicting the criminal justice system as a playground for the likes of Davis and his equally sleazy lawyer (a typically scene-stealing turn from Geoffrey Lewis). When Bronson confronts his nemesis during the inevitable climactic showdown, the audience is literally compelled - through dialogue and editing - to invite brutal retribution on Davis' irredeemable bad guy. It's cheap, manipulative and cynical, but it's also undeniably effective, and Bronson's closing line of dialogue is guaranteed to arouse guilty fascist impulses within even the most liberal viewers.

    Davis is the spitting image of his actor brother Brad (the late and much lamented star of MIDNIGHT EXPRESS) and is quite effective in a difficult role, though his subsequent career appears to have gone nowhere, which is a shame. Co-star Andrew Stevens made a brief splash in movies like this one (including Brian DePalma's THE FURY) before becoming a producer on a wide range of Hollywood pictures (everything from 'erotic thrillers' such as NIGHT EYES to blockbusters like DRIVEN and BALLISTIC: ECKS VS. SEVER, etc.), and Lisa Eilbacher enjoyed a momentary spotlight on the big screen before returning to TV (where she had begun her career in the likes of "The Texas Wheelers" and "The Hardy Boys/Nancy Drew Mysteries") before fading from the business altogether. Word has it that the title 10 TO MIDNIGHT (a meaningless phrase) had been announced by Cannon for another film which ultimately failed to materialize, but someone obviously liked the sound of it and simply re-used it here! The 'TV version' is a laff riot, featuring alternate takes with Davis in black briefs. In the original, however, you get to see (almost) every inch of his fabulous, sculpted body. Drool, slobber...
  • I thought this movie was remarkably ahead of its' time; it paved the way for films like COPYCAT or SEVEN. The performance from Gene Davis, (brother Brad was in MIDNIGHT EXPRESS) is astounding; you really feel like you're in the presence of a serial killer. The alibi he establishes for his crimes are extremely clever. Bronson doesn't really serve up too much more emotion than he did in any of the DEATH WISH movies, however I didn't feel he was as wooden in this. Other than the cheesy music, this film hasn't really dated (bare in mind this film is 21 years old!). Pacing for the picture is rather decent; the ending is quick and violent. Certainly one of the better Charles Bronson movies.
  • When Andrew Stevens is the most interesting character and best actor you know something is wrong. The title of this routine cop movie is totally senseless and hasn't any significance to this cheep thriller. By the 80's Bronson was losing his edge. He was looking old and puffy. Gene Davis is the pretty boy psycho-killer on the loose. Davis' acting is so over the top that you can't really take him seriously. He just comes off as a regular preppy dude who acts crazy and annoying. He's rather small in stature and doesn't have any menacing feature except for his icy neurotic visage that seems plastered on his face throughout the picture.

    He's a serial killer who has a fetish about killing his victims while being completely nude himself. Okay, we understand he's disturbed and creepy. But that's about as far as this tale takes his character. He acts so creepy from the beginning of the picture as it establishes him as a loner that his character has nowhere to grow. That is why I fell asleep halfway through this tawdry flick. The problem here is that this is a Bronson film. And in all Bronson films we know he will most likely be the victor over the villain. So the killer here seems too vulnerable and ineffective to be a worthy adversary. He may be able to shuffle his way out of legal authority to a degree, but he is hardly elusive in his stalking method by running around naked without anyone really noticing him carrying a knife.

    This movie also has some really bad acting, especially from the pretty babes who were cast only for their hot bodies. Bronson himself seems bored and jaded by this and does not elicit enough of his individual appeal to make this interesting. Andrew Stevens does the best job in the movie by playing the rookie detective under Bronson's supervision. The party scenes look so lame and contrived that they are worth laughing at. Do people in their 20's and 30's dance around in a small apartment non-stop wearing t-shirts? If a few were grooving to the tunes that would look more natural, but everyone in the pad?

    Watch this only if you have nothing better to do and you are in the mood to scoff at the bad 1980's acting, clothing and film direction.
  • The first hint that this is going to be a bloody actioner with occasional exposed skin is the fact that it was produced by Golan and Globus. The second hint is that is stars Charles Bronson. If you are into 80s action flicks, this will be one you'll want to see.

    Casting Gene Davis as the serial killer was genius. He is perfect. I did also enjoy that June Gilbert gave us the full show in her short movie career. Cynthia Reams also gave us a full show in her only movie.

    Lisa Eilbacher (Beverly Hills Cop, An Officer and a Gentleman) plays Bronson's daughter. I've enjoyed her in every movie I've seen her in, and this was no exception.

    With Wilford Brimley and Geoffrey Lewis, this was classic Bronson. An enjoyable flick.
  • Warning: Spoilers
    This movie gets a bad rep unedited it's great movie.Very suspenseful and terrifying! Now edited for television? It is one of the funniest movies ever the killer who in the unedited version kills women while he's naked,has a pair of undies matted in over his more sensitive areas,obviously frame by frame,and as a result his undies tend to look nearly alive on him! It's like the Venom creature from Spiderman comics! His 'living' undies also tend to change colors,from black to tan from scene to scene.

    But my favorite thing was the editing of the dramatic,and violent end chase scenes.In the unedited version the chase tends to run around the half hour mark.Edit it for TV,and it wraps up in nearly 10! I love this movie either way!
  • MAK16 March 2000
    "10 to Midnight" (1983) is an interesting and surprisingly suspenseful film from director J. Lee Thompson and frequent collaborator Charles Bronson.

    The basic premise is as follows: a cop is after a serial killer. However, the film deals with other issues such as the falsification of police evidence and using insanity as a defence plea. These elements are explored in in the film.

    For 1983, the film is surprising violent and contains a lot of nudity, which, for the most part, is keeping in line with the story. Overall, "10 to Midnight" is an interesting and relatively early addition to the serial killer on loose type films.
  • ***SPOILERS***Charles Bronson as LAPD Det. Leo Kessler tries to do a "Dirty Harry" in "10 to Midnight" and falls flat on his face doing it. Kessler is out to get serial killer Warren Stacy, Gene Davis, who has a strange habit of committing his crimes in the nude. Why Stacy does that is never explained unless he feels that nobody would be able to recognize him with his clothes off.

    It's when Kessler goes out of his way to have Stacy convicted of his crimes that he becomes a worse nut-case then even Stacy is. Going so far as to not only plant blood evidence on Stacy's clothes, which he didn't ware when he committed the murder, after illegally breaking into his apartment Kessler also tries to get his straight-laced partner Det. Paul McAnn, Andrew Stevens, to both lie and cover up for him. With McAnn not willing to perjurer himself, and end up fired from his job and behind bars, Kessler finally does the right thing in him admitting what he did in open court! This has the case against Stacy not only thrown out but the by now feeling indestructible serial killer target Kessler's daughter Laurie, Lisa Eibacher, as his next victim!

    The movie has Stacy go into his psycho act,stripping off his clothes, and break into Laurie's, who's a practicing nurse, dormitory room that she shares with three fellow nurses. The murderous rampage at the dormitory has Kessler, who's now just a private citizen,come to the rescue of Laurie only after her fellow nurses have been dispatched by the bare-a** psycho.

    ***SPOILER ALERT***The movie ends on an up note with Stacy, bare-a** naked, cornered by what looks like the entire L.A Police Department giving a speech about how sick he is and that, after murdering some half dozen persons, he'll never have to pay from his crimes. It's just too bad that Stacy didn't have the present of mind and just let himself be taken in by the police but provoke Kessler, who's about as off the wall as he is, to finish the job that he started earlier in the film.

    One of Charles Bronson's lesser known films that has him look so bad, as a good guy, that he makes nude psycho killer Warren Stacy almost look normal. It was also Bronson, as Det. Leo Kessler, in purposely antagonizing Stacy that lead to three young nurses getting murdered who wouldn't have been if he just did his job as a big city policeman. Instead of him trying to out do Clint Eastwood's no holds barred, when it comes in "enforcing" the law, San Francisco Police Inspector Dirty Harry Callahan.
  • I remember seeing this movie when I was a child. I won't into the plot or very bad sub plots but, I will say that almost all of the acting in this violent movie is so truly terrible, that words fail me. The killer is played by Gene Davis and, his acting is badly done that I actually laughed at several of his scenes.

    I no idea why they cast Gene Davis. Surely there were more talented actors around. There's little if any doubt that he got the part simply by being the brother of Brad (who I also thought was a terrible actor).

    I'm actually feel embarrassment for Bronson while watching the movie. It's not unbelievable that a person of his age could be a detective as, many other reviews have said. To me, it's more depressing watching Bronson start to decline in the quality of work he was doing at that time.

    This movie would best be enjoyed with a group of friends enjoying some alcoholic beverages... Many of them.
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