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Michelle Wallace is a girl haunted by the demons of her past, having witnessed the brutal murder of her mother at the age of four. Sixteen years on she lives in a run-down boarding house looking forward to a future with her boyfriend away from the squalid life she has been leading. Michelle is befriended by her new neighbour, Charles Paskin, a mysterious middle-aged man. Unbeknown to Michelle, Charles is actually a British government assassin involved in a highly confidential operation. His mission is to retrieve government files about a top secret operation which has been stolen. He has been instructed to dispose anyone associated with these documents, but all is not as it seems. Through a bizarre turn of events, Michelle becomes embroiled in Charles's mission, and a fast-paced story of intrigue and suspense begins to unfold. Written by
Jean Lejuez <email@example.com>
Strong and inventive contributions from production designer Paul Combellack and cinematographer Jon Ford are laid low by a screenplay which manages to become increasingly preposterous as this English-made film progresses. The storyline involves a massive effort by an unidentified and obviously incompetent government agency to recover a stolen computer tape that contains a bureaucratic program to spread AIDS among sub-Saharan Africans. Battling against this force of evil are a young man and woman who put forth a heroic effort in repeatedly dodging countless rounds fired at close range from semi-automatic weapons by terminally imbecilic and largely doomed gunmen of the state. As the primary government henchman, Trevor Byfield provides a performance replete with most of the properties of sleaze, and is obviously enjoying himself to the utmost. Director Howard J. Ford certainly has an artistic grasp upon how to create a film and the first portion of DISTANT SHADOW shows nary a dull moment; however, he apparently runs out of fresh concepts well past the point when the scenario fails him, and he cannot be faulted for that.
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