This Australian made attempt at creating a black comedy is blighted by horrendous hamminess from most of a cast which plainly is reflective from its limp direction, as well as an inability to overcome a script that ripples with inanity, despite the presence of some talented players, in particular the unique Pamela Stephenson. In an outlandish narrative that will mitigate against most viewer enthusiasm, Stephenson performs as Marilyn Falcon, whose husband Max (Garry McDonald) is starring in a rather ludicrous musical comedy version of the life of Sigmund Freud. Max is paranoiac concerning a number of attempts that have been made upon his life, a reasonable fear, as his spouse has indeed tried to kill him in order for her to exchange Max for the Falcon chauffeur, Richard (Marian Dworakowski), a young man with whom she has been lustfully comporting for two years. Although Marilyn is staunchly aiming to do away with her husband, she has merely iced the wrong party with each effort. Her victims' wraiths in this farce have assembled as a ghostly sodality within a sort of purgatory to which they have been relegated until they may successfully unbridle themselves from "unresolved issues", and instead of simply hanging about, waiting to do so, those dear departed recently murdered by Marilyn find enjoyment in haunting her and her paramour. Meanwhile, a besotted Richard is discovering that it is an increasingly formidable task to assist his pitiless lover with her plan to bring about a final send-off for Max, who is in a whirl of frenzied activity for his role as Freud, added to discomfiture caused by mysteriously based endeavours to bump him off. The consequences of chance having vetoed widowhood for Marilyn include close attention given to the circumstances revolving about the sundry slayings by a police Inspector (John Clarke) along with his Sergeant partner (Jonathan Biggins). This fantasy is undone for the most part through out of hand histrionics by a cast which wants for direction that might provide a point of view. This weakness at the helm, in addition to an untidily constructed scenario, poorly executed special effects, and capricious camera-work (overuse of close-ups), results in a narrative that is left at the gate. A beautiful Stephenson does her best as a beautiful Marilyn, and Clarke freshens each of his scenes as a properly suspicious detective focused upon felonious details.
