Walter lands in an ugly, dark apartment in L.A. Managed by a grotesque, William (Dean Stockwell), housing an obnoxious East-Berliner, Dieter (Patrick Ersgard, one of the writers of the misguided effort), and hooker Catherine (Alex Meneses), Walter’s temporary, home-away-from-home leaves everything to be desired.
Main point is that Walter calls the truck company and reports the driver, who’s fired for saluting Walter inappropriately. With nothing but time on his hands, the driver’s apparently out to get back at Walter, who next meets his hard-nosed client, Harrison.
Quickly Walter’s agonies mount. His car window’s broken, rats turn up in his bed, his tomato-soup-red apartment’s ransacked, and he can’t get any satisfying work done for quarrelsome client Harrison. Director Jack Ersgard, who seems to know more cliches than he can shake a stick at, works up little interest in the paste-up characters.
The actors are at a loss. Lowe goes through the motions of looking scared a couple of times, while Belushi fails to make much contact with the curious character of Harrison. Stockwell hammers home the manager role in OK fashion, and a bearded, hirsute Richard Moll as a gun salesman acts fierce. Meneses as Catherine the prostie overplays; Wheeler-Nicholson, Walter’s nervous wife, suffices.
Too many well-known ploys turn up, and the good-hearted tart is done to death. The writers show little inventiveness or creativity, and the hero’s stranded among the cliches.
Ross Berryman’s camerawork is routine, as is Chris Peppe’s editing. Production designer Narbeh Nazarian’s use of Glendale sites and his cunningly depressing apartment house interiors (built entirely on a set at Front Street Studios in Burbank) lend some authenticity to the thin vidpic.