The Midnight Man is akin to a 1980s slasher flick, but in the new millennium. The titular antagonist is similar to Freddy Kruger, with an assortment of lines, though unlike Craven's slasher, The Midnight Man's ominous taunts would almost appear arrogant, if he didn't back them up with such menace. He isn't particularly scary, though he doesn't need to be, as his presence is very effective when he is staring down at his prey.
Who is quite haunting however, is Lin Shaye, as Anna Luster, who is initially revealed to be suffering some form of dementia, the resulting mannerisms and behavior being well executed. This is perhaps one of her most effectively creepy screen roles, and she really chews up the scenery here. As for the plot, Anna's granddaughter, Alex (Gabrielle Haugh), has taken up residence in her grandma's home to take care of her, receiving occasional visits from the local doctor, Harding (Robert Englund).
Alex is revealed to be a rational, strong-minded young woman, despite the demons that she carries with her. She could almost de described as cold, though there are moments where she temporarily tears down that wall around her, and shows the deep trough of emotion within. Harding, on the other hand, is severely under-used, whilst also serving as a plot-device during his cameo. This is a real shame, considering this veteran horror actor deserved so much more.
When Miles (Grayson Gabriel) and Kelly (Emily Haine) show up to keep their friend, Alex, company for the night, they unwittingly come upon a hidden game in the attic when exploring. Despite a clear warning, the typical horror cliché of doing the exact opposite is appealed to, and the group of friends conjure the Midnight Man into their home without fully understand him. Fortunately, or unluckily, they will have a chance to get to know him, quite intimately, this night.
This is where issues start arising. Characters initially appear genuinely smart, with a solid understanding of the world around them. However, suddenly, mistakes, that seem oppositional, begin to happen, and it feels more like a convenience in service of the narrative, rather than in relation to who the characters are.
Side-plots and backstories are slotted in between key moments, though feel like incorrect jigsaw puzzle pieces. Example, at one point, characters wander off to find a key item for survival. Suddenly, they stop what they are doing, because talking about a side-plot is far more important. I mean, if I'm being hunted by a sadistic monster, I really want to stop in the middle of a creepy house and talk.
It can just feel like boxes are being ticked on a to-do-list. On top of that, despite been a tight-knit group, the friends occasionally abandon each other, which again, seems to only be in service of the plot. This is a horror film after all, so if characters split up, it is supposed to create tension.
Moreover, the establishing of the Midnight Man's rules early on is a good touch, though the addendum that these are not always followed is contradictory, while the issue that some rules don't seem to make sense, and are never questioned by the characters, is equally peculiar. For everything great about the film's lore and its characters that drags you into the world of the Midnight Man, there is something equally inexplicable and on the nose that drags you out of it.
To be frank, it can really feel as though the feature is taking the path of least resistance to reach its ending, and is unwilling to take risks, or extend its 90-minute run-time. This film really feels like it could have pushed for a two-hour limit, could have inserted more characters as 'fodder', and it could have been all the better for it.
The music is the typical jump-scare stuff we have previously heard, and does add to the ambiance, while strictly being 'safe' because it is a proven non-diegetic technique. The effects are additionally well developed, with some memorable moments, while keeping the entire story in one location helps cement us in the massively old house.
The Midnight Man is nothing you haven't seen before. This doesn't make it bad, as it is a decent popcorn flick, though the familiar territory it treads, and the lacking detail, stops it from really standing out from the mass of other renowned slashers. You really get the feeling that this film was to be the first in a franchise, but I get the feeling the Midnight Man won't be waking up again anytime too soon.
Who is quite haunting however, is Lin Shaye, as Anna Luster, who is initially revealed to be suffering some form of dementia, the resulting mannerisms and behavior being well executed. This is perhaps one of her most effectively creepy screen roles, and she really chews up the scenery here. As for the plot, Anna's granddaughter, Alex (Gabrielle Haugh), has taken up residence in her grandma's home to take care of her, receiving occasional visits from the local doctor, Harding (Robert Englund).
Alex is revealed to be a rational, strong-minded young woman, despite the demons that she carries with her. She could almost de described as cold, though there are moments where she temporarily tears down that wall around her, and shows the deep trough of emotion within. Harding, on the other hand, is severely under-used, whilst also serving as a plot-device during his cameo. This is a real shame, considering this veteran horror actor deserved so much more.
When Miles (Grayson Gabriel) and Kelly (Emily Haine) show up to keep their friend, Alex, company for the night, they unwittingly come upon a hidden game in the attic when exploring. Despite a clear warning, the typical horror cliché of doing the exact opposite is appealed to, and the group of friends conjure the Midnight Man into their home without fully understand him. Fortunately, or unluckily, they will have a chance to get to know him, quite intimately, this night.
This is where issues start arising. Characters initially appear genuinely smart, with a solid understanding of the world around them. However, suddenly, mistakes, that seem oppositional, begin to happen, and it feels more like a convenience in service of the narrative, rather than in relation to who the characters are.
Side-plots and backstories are slotted in between key moments, though feel like incorrect jigsaw puzzle pieces. Example, at one point, characters wander off to find a key item for survival. Suddenly, they stop what they are doing, because talking about a side-plot is far more important. I mean, if I'm being hunted by a sadistic monster, I really want to stop in the middle of a creepy house and talk.
It can just feel like boxes are being ticked on a to-do-list. On top of that, despite been a tight-knit group, the friends occasionally abandon each other, which again, seems to only be in service of the plot. This is a horror film after all, so if characters split up, it is supposed to create tension.
Moreover, the establishing of the Midnight Man's rules early on is a good touch, though the addendum that these are not always followed is contradictory, while the issue that some rules don't seem to make sense, and are never questioned by the characters, is equally peculiar. For everything great about the film's lore and its characters that drags you into the world of the Midnight Man, there is something equally inexplicable and on the nose that drags you out of it.
To be frank, it can really feel as though the feature is taking the path of least resistance to reach its ending, and is unwilling to take risks, or extend its 90-minute run-time. This film really feels like it could have pushed for a two-hour limit, could have inserted more characters as 'fodder', and it could have been all the better for it.
The music is the typical jump-scare stuff we have previously heard, and does add to the ambiance, while strictly being 'safe' because it is a proven non-diegetic technique. The effects are additionally well developed, with some memorable moments, while keeping the entire story in one location helps cement us in the massively old house.
The Midnight Man is nothing you haven't seen before. This doesn't make it bad, as it is a decent popcorn flick, though the familiar territory it treads, and the lacking detail, stops it from really standing out from the mass of other renowned slashers. You really get the feeling that this film was to be the first in a franchise, but I get the feeling the Midnight Man won't be waking up again anytime too soon.