Ashaky echo of "Fatal Attraction" and a distressed "All About Eve" mix it up in the worn-out formula drama "Body Language" penned by Dan Gurskis and Brian Ross. Now it's a psychotic secretary yearning not only to have her boss' things but to be her; vidpic's as loose as it sounds.
Ashaky echo of “Fatal Attraction” and a distressed “All About Eve” mix it up in the worn-out formula drama “Body Language” penned by Dan Gurskis and Brian Ross. Now it’s a psychotic secretary yearning not only to have her boss’ things but to be her; vidpic’s as loose as it sounds.
Heather Locklear’s Betsy, new exec in a high-powered firm, finds assistant Norma (Linda Purl) understanding and helpful. Betsy’s having trouble with b.f. Victor (James Acheson), who thinks she’s too much of a career woman; Norma’s not shy about taking him on, too.
Whatever entertainment there is in the vidpic comes from watching Norma working her way into being Betsy, but everything’s so pre-ordained the suspense is negligible, the plot holes numbing.
The TV movie does show off some brisk editing as scenes with Norma and Victor alternate with scenes between Betsy and her new, lecherous boss (Edward Albert); but the easy way Norma maneuvers into places and situations doesn’t work.
Locklear plays her role in straightforward fashion; the adept Purl tries putting an extra spin on the mad-woman syndrome, but it’s a tough assignment. Acheson and Albert are OK in their stet roles. Gary Bisig strolls around in a thankless part as an investigating detective; despite clumsiness of his assigned entrances, he’s believable.
Arthur Allan Seidelman directed the old-hat tale in stolid style. Production designer Ninkey Dalton developed imaginative Portland locales and backgrounds for the supposed thriller; trouble is, it isn’t thrilling.
Tech credits are good.