The pace begins quite frenetically here with Jane Doe (Teri Hatcher) desperately trying to answer ongoing instructions from a kidnapper holding her son. Eventually they are reunited, but thereís a catch; her ex-husband and father of her son is with him. Meanwhile, her actions getting her to her son seem to have set her up as a patsy regarding an assassination.
Add to that it happened at her workplace and sheís in a whole world of shit. Naturally, more secrets are revealed with everyone not being who they say they are, and Jane Doe (real name) must figure out who is screwing who here and how she can get out of it. Plus get rich.
Entirely convoluted and complex, I kinda lost my way around two thirds in when the film broke down into a tangled ball of yarn. I did my best, but it was full of pissy action sequences and unlikely misnomers that lent a comedic flair to the ending of what started out looking like quite a promising film. Too many subplots, too many dodgy attempts to sound cool and way too much corn.
Performances are meagre from Hatcher and Rob Lowe, with some clanging lines ringing out infrequently. I find this is commonly a problem in films written and directed by the same person. Not to say all are guilty; indeed not. Just some... and, sadly, this is one. For an 87 minute film there are maybe two subplots too many and two characters too many. Itís needlessly complex and doesnít hold interest enough in the long run to be bothered following the story to the bitter end.
Itís a shame this film is so strategically weak. The visuals look very sleek and stylish and are razor sharp. Some use of digital cameras during the action scenes makes the film look very recent, as this seems to be a growing trend among action directors. However, it isnít quite enough to grab a hold of us as the audience. Delivered in 1.85:1 with 16:9, the film, as noted, starts out promisingly, but with the departure of sensibility the pretty pictures arenít enough anymore.
Music by Brian Taylor is probably the highlight of the film aurally, as itís certainly not in the dialogue or script. While this is easily understood and relatively well spoken, it clangs often and thereís one dude, a hitman, who has the pissiest attempt at an English accent Iíve ever heard. Sound effects are okay and the surrounds get a bit of a working, but there are long regions of dialogue here in tactical centres and such where they shut down for a good while.
Taylorís music, however, keeps the pace ripping along and builds tension nicely and this film would be face down in the ocean if not for this addition. While itís not the best piece of scoring Iíve ever heard, it rates above average in an average film.
The only extra takes the form of a 33 second trailer presented in 1.85:1 with 16:9 enhancement that does little to give us anything about the film. Much like the film itself on the opposite end of the spectrum, giving us way too much we donít need.
Should you be in the mood for a B-grade thriller some stormy night, you could do worse than this film - although with such an average altercation on screen, you could also do a lot better.