A drug lord (Robert Z'Dar) hires a private investigator to track down the culprit who killed his henchman and took a briefcase full of money. One of the suspects is Heather Finch (Kim Stetz... See full summary »

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Cast

Cast overview, first billed only:
...
Serano
Kim Stetz ...
Heather
Robert Allen Silver ...
Tyler
Shannon Elliot ...
Sophie
Whitney Weston ...
Belinda
...
Marty (as Charlie Rossman)
Nynno ...
Trey
Vernard Duval Davis ...
Doc. Marky
Michael Groves ...
Beardman
Anthony Stone ...
Concierge
Alex Wright ...
Car Salesman
Shanna Baker ...
Carol
...
Janine (as Alex Kapp)
Jacky Wright ...
Jodie
Scott Stovall ...
Roy
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Storyline

A drug lord (Robert Z'Dar) hires a private investigator to track down the culprit who killed his henchman and took a briefcase full of money. One of the suspects is Heather Finch (Kim Stetz), a madam who seduces the detective and suggests that he swindles the drug lord. Written by Ari Herzog <ari@ici.net>

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Thriller

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9 April 1996 (USA)  »

Also Known As:

Tödliche Liebesdroge  »

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User Reviews

 
ONE WOULD HAVE TO BE FORCED INTO WATCHING IT TWICE.
29 September 2004 | by (Mountain Mesa, California) – See all my reviews

In this low-quality exploitative feature, it is a viewer's patience that will be most exploited, since the direction, script, and acting are nearly always embarrassingly shabby in a story of a private detective who, while investigating a homicide, falls in love with the obvious suspect, a young madame who manages a small stable of call girls. The P.I., a former police detective terminated due to his commission of a "technical error" (i.e., broadsiding a schoolbus while under the influence of cocaine, killing two students in the process), is hired by a mobster (Robert Z'dar) to retrieve two million dollars in cash that was stolen from him when a henchman was murdered during a tryst with a harlot, and finds himself in the soup with his employer due to substantial investigative expenses. As with most movies of this stamp, the action frequently halts so that we may gaze upon bared breasts, buttocks, or whatever, but the plot itself has so many continuity flaws, along with shabby post-production efforts, uneven direction and unintentionally comedic dialogue (the private eye and his lover discussing the orchestral works of Sibelius is freakish), that this is one it would be best to permanently overlook.


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