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Carl Austin (screenplay)
Jag Mundhra (story)
View company contact information for Improper Conduct on IMDbPro.
A woman seeks her own brand of justice when her sister's sexual harassment case is smothered by acts of foul play. Full summary » | Add synopsis »
User Reviews:
A New Function For Sexual Harassment - Sexploitation. See more (5 total) »


  (in credits order) (verified as complete)

Steven Bauer ... Sam

Tahnee Welch ... Ashley

John Laughlin ... Michael Miller

Nia Peeples ... Bernie
Lee Anne Beaman ... Kay

Adrian Zmed ... Doug

Kathy Shower ... Emily
Patsy Pease ... Jo Ann
Matt Roe ... Defense Attorney
Everett Lamar ... Kurtis (as Everette Lamar)
Wendy MacDonald ... Gabby (as Wendy McDonald)
Stephen Fiachi ... Mark

Stuart Whitman ... Frost
Lydia Bushfield ... Kate
Tarik Ergin ... Donald
Cinda-Lin James ... Megan
Adriana Shaw ... Judge
James Mathers ... Brian
Frank Roach ... Henry
George Ferris ... Priest

Directed by
Jag Mundhra 
Writing credits
(in alphabetical order)
Carl Austin  screenplay
Jag Mundhra  story

Produced by
Subhash Bal .... co-producer
Victor Bhalla .... line producer
Victor Bhalla .... producer
Jag Mundhra .... producer
Original Music by
Alan DerMarderosian  (as Alan Dermarderosian)
Cinematography by
James Michaels 
Film Editing by
Wayne Schmidt 
David Schulman 
Casting by
Lori Cobe 
Production Design by
Brian F. McCabe  (as Brian McCabe)
Art Direction by
Lincoln D. Hiatt 
Set Decoration by
Nadine Haders 
Makeup Department
Barbara Wilder .... key hair stylist
Barbara Wilder .... makeup artist
Production Management
Lawreen E. Kayl .... unit production manager
Second Unit Director or Assistant Director
Gary Gray .... second second assistant director
Megan Hickey .... second second assistant director
Dan Katzman .... second assistant director
Jim LaClair .... first assistant director
Christopher Landry .... second assistant director
Art Department
Stephen Tracy .... property master
Sound Department
David Diamond .... boom operator
Brian S. Tracy .... sound mixer
Eric Chambers .... stunt for everette lamar
Cinda-Lin James .... stunts
Ellen G. Statham .... stunts
Patrick J. Statham .... stunt coordinator
Costume and Wardrobe Department
Ricardo Delgado .... wardrobe
Other crew
Deborah Bird .... production coordinator
Javier Bonafont .... location manager
Sally Clarke .... assistant production coordinator
Tracy L. Moody .... script supervisor
Josh Oliver .... production assistant

Production CompaniesDistributors

Additional Details

Also Known As:
93 min
Color (Eastmancolor)

Did You Know?

Emily:You should be ashamed!See more »
Movie Connections:
Referenced in Rewind This! (2013)See more »


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9 out of 17 people found the following review useful.
A New Function For Sexual Harassment - Sexploitation., 28 January 2005
Author: rsoonsa ( from Mountain Mesa, California

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.

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