Admirable film.

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I did not think this was a good movie. The overly loud musical score is poured over it like cheap gravy and I suspect that the dramatization of this true event was anything but subtle – probably they thought they had to spice it up.And yet, there is something deeply irritating about the whole affair that made it worth the watching time invested. The main character is oddly believable as a living doormat. I have to agree with other commentators that Robert Urich delivers a stunning performance. The man plays a big, intelligent fellow, a former football pro and a successful businessman, but people don't hesitate a second to walk right over him. The man seems to be outright plagued by an unhealthy kindness and, above all, an over developed sense of responsibility. When a business partner sets an important meeting at a date when he is supposed to go on a long promised trip with his girlfriend he cancels the trip. When he wants to pass a found doll to a traffic cop who does not accept it, he takes it with him. When he tells his secretary she should send the doll to its owner by mail, the secretary refuses flat out and virtually orders him (her boss) to deliver it personally – and he does it. The result: he gets nearly lynched as a supposed kidnapper and then beaten up time and time again. This becomes all the more grotesque as the guy's wardrobe seems to consist only of two ill fitting business suits which become more and more tattered and dirty as the story moves along. He never even removes his tie! It is very odd and slightly surreal.The man is coerced into helping to find a girl who disappeared by the girl's single mother, a waitress. She transfers part of her guilt and responsibility over to that stranger she had never met before and who has nothing to do at all with the kidnapping. And he accepts the transfer. This is beautifully shown in the scene where he stays in the woman's apartment because she can't sleep. She leans against him and falls asleep at last. In the morning they both awake, the woman refreshed the man (unshaven, in creased business suit and limp tie) with a numb side against which the woman had leaned. But the masochistic climax is definitely the moment when the woman storms into a restaurant where the afore mentioned important business meeting takes place and tells the guy to go with him. He tells her he will, when the meeting is over. But for her it cannot be in a few minutes, it has to be RIGHT NOW. The urgency is clearly irrational but he dithers and dithers and then obeys. Oh, it was hard to bear.The bottom line: This movie shows that different genders have different agendas and priorities and how not to deal with that issue. The rather downbeat ending is very telling in that aspect.

I've commented on a lot of big-screen films, but this is the first TV movie I've commented on and there's a reason. It's one of the few that I still take time to watch when it comes on today. They usually show it on Lifetime nowadays b/c I guess it is seen as some sort of 'female' movie. I saw it when it first came out in the late 80s and have always liked it. It contains IMHO the best performance of the late Robert Urich's career. And I liked him in just about everything he did.Urich plays Jack Bauer (that's right!) a successful, normal, rather average computer executive who seemingly has the quintessential life: a great job, a woman he loves, money, and a group of co-workers and employees who adore him. But there's a kind of emptiness and loneliness about him. Bauer used to be a promising football player in college, but he blew his knee out and it killed his dream of playing pro. Bauer is big and burly-looking on the surface, but he's really a pussycat (he wears glasses, is very polite and professional, and rather nerdy). It's amazing that the man who played tough guys Dan Tanna on Vegas and Spenser (what the hell was his first name?) on Spenser for Hire can be so utterly convincing as a nerdy computer geek, but he pulls it off.The movie is about a poor, working-class waitress whose little girl has been kidnapped and she has been posting flyers of her daughter's photo around town. The woman is played by Megan Gallagher, an actress I remember quite well from the 80s who had always played more sexpot type characters. But here she is cast against type and is very effective as an ordinary (but still quite attractive) single mom.Bauer sees the girl on subway (with another woman that he mistakes for her mother) and notices the flyer also after she disappears and when girl leaves her doll, he tries to get it to her. Social services makes him think the girl has been found, so when he tries to return it, the real mother has him arrested thinking he knows about the kidnapping. Everything is straightened out immediately, but b/c Bauer is the only one who has seen her daughter, she enlists his help to find her. After a series of confrontations, he reluctantly agrees.This movie is just one that I like to watch whenever it comes on. It is primarily a mystery, but also it has elements of social class divisions (Bauer is successful, the waitress is not), the opposites-attract theory between Bauer and the waitress, and 2 characters that the viewer really likes, gets to know, and root for. Mainly, I liked the fact that they never forgot about the prime mission of these 2 people: to find the little girl before it was too late. But I still wanted them to get together in the end. Yet I think the ending was well done and appropriate. I know that Robert Urich was not some big shot Hollywood A-lister or even the biggest TV actor, but I always remember liking him in virtually everything he did. And this is the best thing he ever did for me.REST IN PEACE MR. URICH.

Classic. If you're into bad early 90's 'made for TV' movies. This one involves a child that vanishes. I had trouble paying attention (I have ADD) and combining attention defecit disorder with a bad early 90's TV movie makes for a rough situation.It's awful. No two if ands it's or buts about it. But, if you laugh at horrible lines and a plot that any mildy intelligent person can pick apart within the first ten minutes, then this is for you. I have trouble giving a vote on this, because although being awful as it so obviously was, I was sickly drawn into watching it unfold. Like a book I've read 20 times, I knew every 'twist' and 'turn' involved. There weren't many to begin with, but a slow plot can sometimes be refreshing.

In a film made for television, Robert Urich portrays Jack Bauer, a comfortable corporate executive in the field of computer software manufacturing who unwillingly finds himself amidst an attempt to locate a missing girl whose photograph upon a poster he viewed in a subway, along with the child herself and her apparent kidnapper, after Jack is excluded from access to his automobile that is locked inside of a parking garage following a late work meeting, requiring him to use a public mode of transport. When he returns a doll dropped by the little girl, Carla, to her distressed mother Laura (Megan Gallagher), the latter pleads for his assistance with such fervour that, alien as such altruistic activity is to him, he reluctantly joins with her in a persistent attempt to find Carla, whereupon the pair discover that a rash of similar kidnappings is occurring throughout their city and soon Jack and Laura are privy to knowledge of a conspiracy involving selling of children. Despite reliance in the screenplay upon melodrama, continuity issues are few and a great deal of the dialogue is quite realistic and made even more so by skillful performances from cast members, notably the talented Gallagher, as well as from Urich, Isabella Hofmann, and Christine Dunford who contributes a topflight turn as a lady of the evening coerced into a child vending operation. Production values are pleasingly strong for the piece that is ably directed by David Greene to create an atmosphere of suspense with a dash of humour and a delightfully ambiguous ending, and the work also profits from an appropriate score from Peter Manning Robinson, burnished cinematography of Stevan Larner, and adroit set design by Steve Legner, all to the end of creating a film wherein attention to details generally counters well any clichés.