Telefilm written by Ellen Weston about vengeance looks for an answer and delivers it: revenge. Directed in clipped fashion by Robert Allan Ackerman, headlining Rob Lowe as a put-upon New York City citizen being taunted by a trio of well-off juves, vidpic’s packed with stock situations, dismal dialogue and repugnant actions; here’s what people sneer at when they thumb down TV pics.
Insurance agent Tom Casey (Lowe) and his pregnant wife, Sally (Jennifer Grey) find themselves victims of harassment after Tom reports a trio of wealthy teenagers acting suspicious near the Caseys’ apartment building. Hoodlums’ leader, Jeffrey (Eric Michael Cole), and his two cohorts vandalize Tom’s parked car and snatch Tom’s illegal .38.
Considering that Tom’s in the wrong having a loaded weapon in his car — Sally won’t let him keep it in the apartment — he starts out as a self-made loser. In fact, Tom’s short on character in lots of ways. The revolver winds up with the police, as does Tom, but not before lots of goading by Jeffrey. The hot-tempered Tom just can’t shake a bad deal, as Sally warns him, even if he kicked off the whole mess off by confronting the young men.
Jeffrey’s splendid-looking, haughty mom, Deena (Kathryn Harrold), a lawyer by trade, warns Tom to stop bothering her prep boy Jeffrey.
Weston’s thin, familiar script zigs and zags before eventually hitting some kind of mark. At one point, while the Caseys are under siege, Sally stupidly lets in a stranger, who happens to be Jeffrey claiming to be a locksmith. Unbelievably, she forgets to mention the locksmith to her husband until later.
Lowe’s rightfully tight-jawed throughout, and Grey’s acceptable as the challenged, if trusting, wife. Handsome Cole gets to sneer, strut, go about his nastiness and play out the stock spoiled, vicious teenager. Harrold retains her dignity. Shane Meier and Cyrus Thiedeke are OK as Jeffrey’s pals.
Tech credits are good, with Tobias Schliessler’s rich camerawork giving a feature-release sheen to the telepic (which was exec produced by Francis Ford Coppola, Fred Fuchs and Kevin Cooper). David Mansfield’s score is relentlessly distracting.