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Caroline at Midnight (1994)

R  |   |  Romance, Thriller  |  26 January 1994 (USA)
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Ratings: 5.1/10 from 220 users  
Reviews: 6 user | 1 critic

Victoria is a dealer in the most dangerous game. Playing conveniently into her hand is her husband and his partner, two of the dirtiest cops on the force. Gunning for her is a seductive ... See full summary »



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Cast overview, first billed only:
Jack Lynch
Phil Gallo
Joey Szabo
Caroline Barclay ...
Christine Jenkins
Stan Donovan
Lewis Van Bergen ...
Prince's Bodyguard
Ben Meyerson ...
Jerry Hiatt
Officer Keaton
George Wilkerson ...
Capt. Jacobs


Victoria is a dealer in the most dangerous game. Playing conveniently into her hand is her husband and his partner, two of the dirtiest cops on the force. Gunning for her is a seductive lethal druglord. But in this game, Victoria's wildest card may be herself. She's falling in love with a reporter, who knows the secrets that could destroy them all. Written by Concorde - New Horizons (with permission).

Plot Summary | Add Synopsis


Romance | Thriller

Motion Picture Rating (MPAA)

Rated R for sexuality, violence, language and drug content | See all certifications »





Release Date:

26 January 1994 (USA)  »

Also Known As:

Someone's Watching  »

Filming Locations:

Company Credits

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Did You Know?


Stacey Travis's character is listed as "Christine Jenkins" but in the film she refers to herself as "Christine Jennings" See more »

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User Reviews

Absolutely dreadful in every way a film can be dreadful
28 May 2014 | by (Lincolnshire, UK) – See all my reviews

An incompetent trickle of noirish backwash, 'Caroline at Midnight' fails at everything it tries to do. It wants desperately to be a homage to classic film noir, what with its murder plot and its femme fatale and its saxophone score, but it fails dismally because not one single person involved in its making seems to give a crap one way or the other. I'm not kidding: I've never seen a film made with such mind-blowing apathy. Both the plot and the performances are so shallow and devoid of life that I struggled to pay attention to anything that was happening on the screen.

So, there's this reporter. He's called Jack. He's played, in the loosest sense of the word, by Clayton Rohner, an actor with so little charisma and screen presence he almost folds in on himself. Jack's investigating corruption in the police force and is looking particularly hard at Ray Dillon (Tim Daly), a nasty piece of work who blah blah blah blaaaaah. One night, Jack is given information by an anonymous source that leads him to believe that the death of his girlfriend years earlier wasn't an accident after all. So. As he pokes into the case Jack falls for Victoria (Mia Sara), Dillon's wife and a friend of his ex. Two coincidences in one, very efficient. But it may not be a coincidence after all, you see, because Victoria may be involved with the... with the... zzzzzzzz...

As you may have guessed by now, I had not the slightest interest in anything that was going on, and if the performances are anything to by, neither did the cast. Judd Nelson, Virginia Madsen and Zach Galligan are some of the time travellers from the 1980s appearing in this thing, and their performances are offensively lazy. Rohner oozes disinterest, Daly mistakenly believes his bad guy routine is the next Hannibal Lecter, and Sara acts as though this movie is getting in the way of something more important, like cleaning her oven. The general sense is that none of these people liked the script but needed a bit of walking around money.

Ah, the script. What a lifeless collection of sheets of paper that must have been, containing a story that fails to excite and surprise every step of the way. Jack and Victoria have not a single scene, not a single line, that provides a reason why they should fall in love, while characterisation is non-existent all round; not one character seems to care about any other and I can't think of a single word to describe any of them. The twists are predictable, characters have flashbacks to events they weren't there to witness (Jack imagines his girlfriend's car accident with stunning precision), and the TV show on which Jack periodically appears exists solely to fill in the plot, which might be helpful if the plot was in some way interesting or complicated.

Mark Snow's score occasionally strays into 'X Files' territory, which is quite literally the only time this sorry thriller wakes up from its somnambulant shuffle. Other than that it's all sluggish and unimaginative, with director Scott McGinnis seemingly convinced (incorrectly) that his cast looks cool with cigarettes hanging out of their mouths. This really is a poor excuse for a murder mystery: it's so bland, so apathetically made, so drearily scripted, so downright weirdly put together that it's like watching a film from another dimension.

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