A follow up to Under Cover aka The Company(1991. Linda Purl is again Kate Del 'Amico, National Intelligence Agent who travels to Kuwait in 1990 to investigate the possibility of an Iraqi invasion. When it is discovered that the Iraqi's plan to launch a missile of chemical warfare, the Agency must sacrifice trainee Sam Hamadi (Jesse Borrego) in order for the missile site to be pinpointed.
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Reviews
It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.
The film's masterful storytelling did its job. The message was clear. No need to overdo.
The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.
This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.
A follow up to Under Cover aka The Company(1991. Linda Purl is again Kate Del 'Amico, National Intelligence Agent who travels to Kuwait in 1990 to investigate the possibility of an Iraqi invasion. When it is discovered that the Iraqi's plan to launch a missile of chemical warfare, the Agency must sacrifice trainee Sam Hamadi (Jesse Borrego) in order for the missile site to be pinpointed.Purl's only memorable moments here are a closeup of her asleep looking lovely, and when she attacks an Iraqi soldier with a stick. The teleplay by Thania St John includes a mercenary Bing Tupper (Randolph Mantooth) who is said to be the son of Bing Crosby, and amusing lines given to GW Bailey as Director Waugh, head of the NIA. These include `snuggle tighter than an old maid on her honeymoon', `The White House is in the dark, and they're blaming us for throwing the switch', `they sold their pigs and now they're screaming for bacon', and when told of the rabbitfever that the Iraqi's plan to use as weaponry `It takes a sick morally unsound society to come up with something like this', to which he is told `We (the Americans) invented it'.Apart from a cameo by Salome Jens as an Israeli intelligence officer Ruth Hausman, director Michael Fresco presents this lugubrious narrative ploddingly, with some campy multiple zoom shots in a climax.