My review was written in March 1990 after watching the film at a Manhattan screening room.
"A Shock to the System" is a very dark comedy about escaping the current rat race via murder. Unsympathetic, poorly motivated central character and flat direction nullify Michael Caine's reliable thesping, spelling tepid box office for fledgling distributor Corsair's first release since "Miss Firecracker" a year ago.
Caine is cast as a Britisher working for a New York firm who's passed over for the post of marketing department head when John McMartin (in an affecting performance) is forced to take early retirement. Upstart Peter Riegert (way too sympathetic for the role) gets the job instead and starts throwing his weight around.
Caine is also fed up with his wife Swoosie Kurtz' habits, but Andrew Klavan's script (based on Simon Brett's novel) fails to motivate Caine's sudden turn to cold-blooded monster.
After doing away with Kurtz by rigging faulty electric wiring in the basement, he blows up Riegert (and obnoxious assistant Philip Moon) on his sailboat. Plodding Connecticut cop Will Patton discovers plenty of clues (a cigarette lighter lost by Caine is given inordinate screen time in a vain attempt to drum up suspense), but inexplicably is unable to nail the obviously guilty antihero.
Film's easy targets allow an undemanding audience to vicariously enjoy killing one's boss or nagging spouse, but events are unbelievable and thereby uninvolving. A key early scene of7 a beggar seemingly killed in the subway by Caine is clumsily staged and confusingly resolved. Jan Eagleson's direction slos to a snail's pace during the middle reels and lacks the style of the classics in the genre: "Monsieur Verdoux" by Charles Chaplin and "Kind Hearts and Coronets" by Robert Hamer.
Despite script deficiencies, Caine almost pulls it off with a nasty turn (replete with James Cagney-isms) reminiscent of his early '70s "Get Carter" persona. His third-person voice-over narration further distances the already cold action, acting in an opposite manner to his "Alfie" intimate asides. Elizabeth McGoven is effective as his romantic interest, with Jenny Wright appealing in an underwritten role as her roommate.
Paul Goldsmith's lensing of New York locations is functional and the pic is punched up considerably by the catchy use of amplified acoustic bass in Gary Chang's scoe.
