This item, marketed as being a "psychological thriller", is devoid of thrills and requires scant astuteness to understand that psychology has no noteworthy function within its story that, although avowedly targeting the evils of sexual harassment, is in fact simply another fully clichéd tale of wayward lust, utilized here as excuse for young women to remove their clothing as they go about conducting plot-impelled affairs. Tahnee Welch plays Ashley, a young graphic artist of depicted loose morals who, in rather incongruous fashion, decides to withhold from her new supervisor Michael Miller (John Laughlin) those favours that she has proffered freely to others sharing her workplace, yet goes even farther by filing a lawsuit against Miller for his alleged sexual harassment of her. Shortly after losing her case due to lack of evidence, Ashley departs from the storyline, fortunately for viewers as Welch is a poor actress with a stunted emotional range and a proclivity for blurting her lines. During the movie's second half, Ashley's sister Kay (Lee Anne Beaman) replaces her as the primary female character in the scenario as well as in the prurient eye of Miller, with Kay nurturing a bold tactic of restoring her sister's stained reputation through a sirenic plan that she believes Michael will not be able to withstand. Beaman is the sole player in the film who manages to build a little something of value from a role, albeit her lines are equally as Johnny One Note dreadful as is all of the dialogue, most of which seemingly is written to force its simplistic meaning into skulls of viewers who may otherwise overlook a continuing stream of single entendres. Generic formulae are maintained throughout the course of this poorly scripted and directed affair that even conforms to that rule of scoring that requires a solo wailing saxophone during obligatory and hackneyed lovemaking activity, the purpose of which is presumably to harass sexually any of those watching who may be suffering from an extended period of puberty.
