“Midnight in the Switchgrass” is the type of crime thriller that’s so full of cliches that it turns into one enormous cliche itself. A few cops look at a serial predator sooner than it’s too late; a director tries to be taken considerably by throwing in a bunch of bleak supplies; Bruce Willis reveals up, barely. It marks the directorial debut of prolific producer Randall Emmett, who has given us an entire lot of shiny DTV junky movement footage that looks exactly like this one and now have Willis’ soul trapped inside them (simply these days: “Out of Demise,” “Survive the Night,” “Arduous Kill”). The least cliché half, to be sincere, is in how creepy this film’s intentions are.
If there’s one issue that this film loves larger than images of switchgrass blowing inside the wind, prepared for one factor, one thing, to happen, it’s images of young women being choked, tortured, and certain up, and lots of others. It’s vitally good at making time for the whole above. Identify it character progress for a movie based on a precise serial killer, nonetheless, the psychosexual stuff turns into openly gratuitous when it offers as a lot as little and takes up a number of homes subsequent to in all probability probably the most rote cop plot conceivable. Alan Horsnail’s script isn’t exactly a James Patterson-like intricate investigation, neither is it about rooting for a virtually naked 16-year-old to survive her captivity. We’re hardly given any connection to her than witnessing her struggling, and the scenes unfold all by means of often aren’t even depraved in a creative fashion, in a implies that environment-friendly sleaze might be. Nevertheless, it’s what everyone knows quite a bit about—that this man Peter (carried out by Lukas Haas) could also be very sick, collectively together with his victims our bodies scattered around Pensacola, their clothes are hidden away for his sniffing, and Emmett needs to have a look at him.
In between the whole villainous stuff, throughout which Haas does present to be a surprising choice for such grossness, just some broadly drawn heroes try to catch Peter. A Florida state cop (Emile Hirsch) is investigating a set of murders in and around Pensacola, involving intercourse workers and girls who’re being trafficked. On the equivalent time, an FBI agent named Lombardo (Megan Fox) is working undercover searching for this killer, on the behest of her older confederate Helter (Bruce Willis). In a number of scenes for the followers, Fox is seen beating up and getting options from a pimp carried out by her real-life off-screen confederate Colson Baker (they met onset). These moments are notably cartoonish, and whereas they supply little by means of profitable battle choreography or cohesive modifying for acknowledged scuffling, they are not lower than have a madcap vitality that in another case doesn’t exist proper right here.
“Midnight in the Switchgrass” is blatantly filled with numerous scorching air when it’s not feigning cat-and-mouse; not even the costume division would possibly muster larger than a pair of patches for Hirsch’s laughable cop uniform. There are many barking about jurisdiction, involving a second the place Crawford, his boss, Lombardo, and Helter have a “what are you doing in my crime scene?” meet-cute. Crawford isn’t presupposed to work the case because it’s not his circle; Lombardo isn’t presupposed to work undercover because “Operation Freeway” has been shut down, and he or she’ll get killed. They resolve to beat these points related to their employers by working collectively to catch Peter, her collectively together with her online connection to this predator, and him collectively together with his overly vital squinty eye line-delivery about how “nobody cares about these ladies.” Guess what happens to Lombardo?
This movie is a skeezy, lazy lure, nonetheless, not lower than Fox breaks out of it. She sits reverse Willis—who can’t even create an emotional consistency between two sentences—and he or she tries to ship life-or-death cop jargon once more to life. Your complete surroundings she’s working with is horrible, and amongst Emmett’s foolish choices, along with Fox in his guidelines of parts to underestimate might be obvious. Whereas “Midnight in the Switchgrass” reminds us why people need duties like this to stay associated amongst their low necessities, it moreover affirms why Fox is primed for larger, infinitely increased duties. She has the power to make even one factor like “Midnight in the Switchgrass” resemble a precise movie.