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This tale of workplace sexual harassment is an interesting study on how people lie, cajole, and manipulate in order to get what they want. Unfortunately, the script glosses over too many potential areas of deeper insight, leaving the audience somewhat unsatisfied. Perhaps this is because it is based on a play - indeed, the dialogue and staging often resembles theatre more than usual film structure - and therefore the audience is expected to provide more of their own interpretation to fill in gaps left by the writer. The family dynamic and examination of parental sexual abuse is particularly poorly done; it felt tacked on and shallow.

I found the opening music to be entirely wrong for setting the ambiance of the film; the music is silly and light, whereas the film is not.

LaPaglia and the Carides sisters are fabulous in this movie. Gia Carides is good as a party girl who is desperate to convince an arbitrator and tribunal that she really was victimized by her boss, playing out the old "whatever we wear, wherever we go, yes means yes and no means no" chant. Zoe Carides does a wonderful job portraying the feminist sister caught between being supportive and wondering just how much of the story really is true.

LaPaglia is the nasty boss, and so thoroughly wonderful in the role that I got chills. I'm a LaPaglia fan and generally prefer it when he plays nice but flawed guys, so in this case his loathsome character really got to me. It's a testament to his mastery of his craft that I found it hard to look at him by the end of the movie - and this is a guy I have as my desktop wallpaper! In particular, a line towards the end of the film was delivered with such malice that remembering it is making me uncomfortable even this many hours later. It's not an easy performance to watch, but I do recommend it nonetheless.

The greatest comfort to combat the on-screen unpleasantness is that LaPaglia and Gia Carides are a seemingly happy married couple!

I would say that this film is recommended for LaPaglia and Gia Carides fans, but not the best sample of either of their work. The two were also together in Paperback Romance, which is a completely different genre but much more entertaining.

I almost never cry at movies, but Anthony LaPaglia had me tearing up all through this movie. I'm not a big fan of soppy platitudes about 9-11, but this movie was very touching. It dismissed a lot of the big-picture stuff in favour of the minutia of people's lives that make them worth knowing about. This is a story about humans, not heroes, which I found refreshing.

Sigourney Weaver is also very good, as usual.

My only complaint is that there were a few instances of repetition in the writing. I'm not sure if that was supposed to be deliberate, as in the character repeating himself out of angst and stress, or if it was bad script editing. I noticed it though because it was jarring, which means if it was supposed to be there, it wasn't handled expertly by the writer. That could have used some polishing.

Other than that, I thought this was a good movie, especially if you're a LaPaglia fan as I am.

The acting in this beautifully shot movie was quite good, but unfortunately the script was terrible. Anderson, forced to roll out the majority of the ridiculously florid dialogue, occasionally struggled with it, but her emoting itself was good. Aykroyd and LaPaglia did a superb job acting and seemed to have no problems getting around the lines, but I must emphasize that the lines themselves were painful at times. Nobody speaks like that! Nobody ever did! The style fluctuated far too often between poetics and colloquialisms, many of the latter seeming entirely too modern for 1905.

Personally, even though I am a huge LaPaglia fan, I don't know if I could stomach this movie again, wonderful though he is. I'm glad I merely rented it.