It’s a functional piece of exploitation — an efficient little crime-porn snuff-thriller potboiler. It’s like a fast-food meal that makes you think, “Okay, that wasn’t good for me, but I got what I paid for.” A film like this one is a junk-franchise burger: tasty, processed, and basically fake.

Hirsch is good, albeit a bit over-the-top. As is Fox, especially when busting Willis’ balls for being too much of a “coward” to take the risks she’s only too willing to tackle. And Haas is probably the best of them all as the monster hiding in plain sight.

Even though it’s largely deeply undistinguished work, credit is due to whoever rustled up some great supporting actors for little roles around the edges, such as Welker White as the mother of one murdered kid, and Samiah Alexander, who is a hoot as a punctilious trucking company secretary.

Although the film's narrative is passable at best, it struggles to maintain any momentum due to uninteresting characters and predictably bad writing.

There isn’t a shred of originality or inventiveness to be found anywhere in the DNA of Midnight in the Switchgrass, but the performances from Fox, Hirsch and Lukas Haas as the unnervingly creepy and very murderous Peter are deserving of much better material. That being said, it’s exactly what you’d expect from a modern era Bruce Willis effort, even if he’s barely in it at all.