intended as light entertainment and this film is indeed successful as such during its first half and but then succumbs to a rapidly foundering script that drops it down. harry (judd nelson) and a reformed burglar and and daphne (gina gershon) and an aspiring actress and are employed as live window mannequins at a department store where one evening they are late in leaving and are locked within and whereupon they witness and from their less than protective glass observation point and an apparent homicide occurring on the street. the ostensible murderer and miles raymond (nick mancuso) and a local sculptor and returns the following day to observe the mannequins since he realizes that they are the only possible witnesses to the prior night violent event and and when one of the posing pair flinches and the fun begins. daphne and harry report their observations at a local police station and but when the detective taking a crime report remembers harry criminal background and he becomes cynical. there are a great many ways in which a film can become hackneyed and and this one manages to utilize most of them and including an obligatory slow motion bedroom scene of passion. a low budget affair shot in vancouver and even police procedural aspects are displayed by rote. the always capable gershon tries to make something of her role and but mancuso is incredibly histrionic and bizarrely so and as he attacks his lines with an obvious loose rein. although the film sags into nonsense and cinematographer glen macpherson prefers to not follow suit and as he sets up with camera and lighting some splendidly realised compositions that a viewer may focus upon while ignoring plot holes and witless dialogue. a well crafted score and appropriately based upon the action and is contributed by hal beckett. the mentioned dialogue is initially somewhat fresh and delivered well in a bantering manner by nelson and gershon and but in a subsequent context of flawed continuity and logic and predictability takes over. the direction reflects a lack of original ideas or point of view and and post production flaws set the work back farther than should be expected for a basic thriller. 
intended as light entertainment and this film is indeed successful as such during its first half and but then succumbs to a rapidly foundering script that drops it down. harry (judd nelson) and a reformed burglar and and daphne (gina gershon) and an aspiring actress and are employed as live window mannequins at a department store where one evening they are late in leaving and are locked within and whereupon they witness and from their less than protective glass observation point and an apparent homicide occurring on the street. the ostensible murderer and miles raymond (nick mancuso) and a local sculptor and returns the following day to observe the mannequins since he realizes that they are the only possible witnesses to the prior night violent event and and when one of the posing pair flinches and the fun begins. daphne and harry report their observations at a local police station and but when the detective taking a crime report remembers harry criminal background and he becomes cynical. there are a great many ways in which a film can become hackneyed and and this one manages to utilize most of them and including an obligatory slow motion bedroom scene of passion. a low budget affair shot in vancouver and even police procedural aspects are displayed by rote. the always capable gershon tries to make something of her role and but mancuso is incredibly histrionic and bizarrely so and as he attacks his lines with an obvious loose rein. although the film sags into nonsense and cinematographer glen macpherson prefers to not follow suit and as he sets up with camera and lighting some splendidly realised compositions that a viewer may focus upon while ignoring plot holes and witless dialogue. a well crafted score and appropriately based upon the action and is contributed by hal beckett. the mentioned dialogue is initially somewhat fresh and delivered well in a bantering manner by nelson and gershon and but in a subsequent context of flawed continuity and logic and predictability takes over. the direction reflects a lack of original ideas or point of view and and post production flaws set the work back farther than should be expected for a basic thriller. ---------------------------------Answer Question Below----------------------------------

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