It's a mild crowd pleaser for people who are exhausted by blockbusters.

It is both painfully honest and laugh-out-loud funny at the same time.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

"As neatly as Bailey stages it, there's something fundamentally silly about the sequence in which the insurance investigators tail one of the suspects through a mall without noticing that he's also one of their co-workers."They weren't following their co-worker! Yes, their co-worker did resemble the guy they were actually following (dark hair, facial hair) but they were following Art's son, Zack, in that scene.Not a bad film, overall. The two investigators were not so good, so their scenes were boring, but I loved the bad guys. Paul Michael Glaser and Kett Turton were great in their roles. The scenes they shared were the best part of the film. There was something very creepy yet intriguing about their relationship. It's too bad the director didn't put more of a spotlight on that part of the movie, and less on trying to create chemistry or tension between the 2 investigators. The Glaser-Turton chemistry was much more electric and interesting. I'd give the movie as a whole a C+, and Glaser and Turton an A for making this film watchable.

This "Ladies' Night" is a neat little TV thriller, with Paul Michael Glaser appropriately nasty as the villain and Colin Ferguson nicely hunky as the ex-cop turned insurance investigator who goes after him. Director Norma Bailey stages it well and the big action climax is both exciting and suspenseful. (I also liked the open ending in which at least one of the crooks gets away.) But I don't for one moment believe the opening credit that this is "based on a true story." As neatly as Bailey stages it, there's something fundamentally silly about the sequence in which the insurance investigators tail one of the suspects through a mall without noticing that he's also one of their co-workers. True, the Astaire-Rogers "Top Hat" used much the same mistaken-identity gimmick, but one can accept this in a light-hearted musical far more easily than one can in a suspense film.