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A conventional genre for filmmakers may be titled Theatre of Paranoia, within which are copious examples, this piece being one, wherein a protagonist is stalked or harried or wrongly envisioned or trapped or prejudiced against, i.e., in some way made to suffer by, generally, one person distracted by jealousy or some other mania. The victim here is Jane Bonner, splendidly played by Shanna Reed, who is tormented by her former husband Robert (Terry O'Quinn), a police detective with an extraordinary amount of free time who is maddened due to the disbanding of a joint custody agreement for the ex-couple's eight-year-old son, during divorce proceedings, Bonner's harassment becoming so acute that Jane and her new spouse Patrick (Pierce Brosnan) decide to leave their Saint Louis home and drive to California to start life anew, only to have Bonner trail them. Director Robert Lewis paces the film solidly during its initial scenes only to have his efforts hamstrung by excessive cutting along with a disjointed screenplay that is heavily reliant upon fancy, in addition to below standard post-production work (e.g., a car following Jane and Patrick is seen being driven from both sides of the front seat by its sole occupant), and a garish lack of knowledge concerning law enforcement procedures is only too evident.

Throughout this foolish affair that the film becomes, Reed shines, easily gathering in acting honours with a subtly layered and credible performance, and O'Quinn also acts well, especially in light of his written dialogue. Richard Leiterman's cinematography is expert as always and fitting underscoring is contributed by Joseph Conlan, but the scenario's collapse into nearly total incongruity and odd character metamorphosis becomes too great of a handicap.

During an acrimonious divorce and custody battle, Jane Bonner meets and marries Patrick Brody (Pierce Brosnan). When Eric, Jane's son, goes missing, suspicion immediately falls on her alcoholic cop ex-husband who has been stalking the couple. But Jane uncovers a secret that every mother dreads.

Pierce Brosnan puts in an excellent performance, transitioning from charming to ruthless with ease as the plot unravels. It's a neat thriller which fools you into thinking it's a typical "husband stalks son and wife" but it smoothly twists into something else. There are some dull bits but that's kept to the minimum and it's quite tense at times with some clever misdirection.

This movie had a surprising end! But I loved it anyways! A nice movie to relax with...especially when my fav. actor Pierce Brosnan is in it!!

Scenes that cut from dramatic-seeming build-ups to something that may or may not show the conclusion. A speech or two from the strong, nearly independent main, and of course female, character, to one of the weaker, and in general lesser, men. Crying, if however brief, in the shower. This really has all that makes a Lifetime flick, though I don't know if it actually is one. I don't have a problem with women being empowered, or a lot of airtime being dedicated to it, I just think that the films can be less clichéd than I understand they are. With that said, the twists in this are pretty unexpected and interesting, if not necessarily all credible. Also, that's about where the above-average qualities end. The writing sacrifices realism and consistency for victimization and aforementioned surprise occurrences whenever they saw fit to do so. The "action" tends to be so half-heartedly put on the screen that you can't tell what's going on. The cinematography ranges between passable and just plain uninspired. The acting varies, O'Quinn outshines the rest, and not all of his fellow performers are awful. The kid actively appeared daft, both real life and his character. The language is fairly limited, a couple of moderate strength words here and there, and nothing else particularly objectionable, apart from perhaps the thematic material and a little violence. The entire thing is "fine". Could do worse, won't be difficult to do better. I recommend it to big fans of those involved, and those absolutely famished for a crime-thriller they haven't yet watched. 6/10

It's interesting to see what shape Pierce Brosnan's career was in before Bond arrived on the scene. In this "tense" thriller, Pierce Brosnan plays the gentle Patrick, who works leading ghetto kids on "confidence courses". He romances a woman, who has a bog-standard mop-top mid-90s kid called Eric. The woman's drunken ex-husband soon arrives on the scene and begins to mess with Pierce.

At one stage Pierce is innocently making "vegeburgers". The husband enters. Pierce resumes making vegeburgers. The husband then assaults Pierce. Little chunks of half-eaten vegeburger call fall from Pierce's mouth. The fight abruptly ends without showing the outcome. This is as good as the film gets.