‘Midnight in the Switchgrass’ Review: Sordid and Derivative

“Midnight in the Switchgrass” is the first characteristic directed by Randall Emmett, whose trademark as a producer — in keeping with a sprawling profession overview in New York journal earlier this yr — has been a rash of low-budget films starring misleadingly top-billed actors like Bruce Willis. “Switchgrass” is superior to these Emmett productions (“Reprisal,” “Survive the Night”), however that bar is on the floor, and even beneath it — buried beneath the switchgrass, if you’ll.

A second-billed Willis seems right here in a barely roused state as an F.B.I. agent, who alongside along with his associate, Rebecca (Megan Fox), is making an attempt to catch a person who has been searching underage ladies in the Florida panhandle. Flouting protocol, Rebecca groups up with a Florida state officer, Byron (Emile Hirsch), who’s monitoring a serial killer who preys on prostitutes. The victims’ career means his superiors don’t care about the case. Byron deduces that he and Rebecca are after the similar man.

The assassin’s identification isn’t a thriller to us: Ripping off “The Silence of the Lambs” (right down to a climactic faux out in which Emmett misleads viewers about which character is on which doorstep), the film crosscuts between the investigation and the killer (Lukas Haas), a trucker and household man main a double life, to observe him as he kidnaps a 16-year-old (Caitlin Carmichael). The environment is totally sleazy with out being distinctive, and all the pieces about the film — the impassive line readings, the half-baked again tales — exudes a terse performance. Clearly, nobody even bothered to proofread the onscreen textual content. But “Midnight in the Switchgrass” achieves its obvious sole aim: being a film that exists.

Midnight in the Switchgrass
Rated R. Violence and disturbing themes. Running time: 1 hour 39 minutes. In theaters and accessible to lease or purchase on FandangoNow, Google Play and different streaming platforms and pay TV operators.