The script is structured well, building an intriguing mystery. (Although as the nature of the conspiracy starts to unfold the subplot about Leslie Nielsen being pursued by anonymous government agents is largely forgotten about). The central idea of the clone bodies is one that sits right on the fence between plausibility and hokiness, although one that has been given a whole new topicality in the 00’s with the whole controversy over the issue of stem cell research. But thankfully the film chooses to present it with sober conviction – the revelation of Bradford Dillman’s mindless twin is a good shock moment.

The low-budget is something that often works for the film – the graininess of the photography adds a raw documentary-like conviction. On the other hand it does make it hard to build much in the way of edgy political paranoia out of the dull ordinary offices that the political machinations take place in or the nondescript panel vans that are supposed to be sinister government vehicles. The most irritating aspect about the film is its anti-climactic non-ending wherein Bradford Dillman and Leslie Nielsen’s threat about going to the media seems to be dissipated by the announcement of the arrival of some VIP (whose significance is never made apparent), whereupon the film just stops dead.