Promising script about a young couple sucked into a corporation's deadly misuse of funds unfortunately suffers from distracting low production values (muffled, on-camera mic sound and non-existent lighting) and acting which overwhelms the story.
The movie comes alive in exciting action set-pieces, especially a finale shootout which does the genre justice, and a memorable performance from Vanessa Leigh. Leigh's believable disbelief and breakdowns amidst characters becoming cartoons and betraying the seductive evil of their purposes is what grounds the movie.
So much on screen emoting disqualifies the movie from fitting into the Jan-Michael Vincent actioners of the 70s, which obviously this was modeled on. Inevitably, the good versus evil formula becomes more a behavioral platform for a lot of unwelcome crying and showboating. Additionally, the story becomes neglected and almost submerged.
The Aaron Stielstra soundtrack is a plus, with an equal amount of twangy electric guitar complementing the expressive, dystopia of synthesizer stingers and downright horrifying ballads of evil. This includes the movie's supply of corporate rock, which is an atrocity unto itself.
Overall, worth watching for a lot of great supporting performances (Ray Medved, Mike Dinsmore, Michael Nose') and one unlisted cast member who plays a spurned black employee. The script could have used some cutting and the plot reveals not so verbalized, but the white trash warriors and political content mesh well with the criminal plotting. So, it's not "White Line Fever". Director Fredianelli delivers as close a product as possible, just in need of some weight loss.
