In the third-person narrative of the novel, the tone is relatively neutral save for some commentary about life in South Florida. In 1981 when Leonard wrote the novel, the Atlantic Ocean was being hidden by giant condominiums. (As a Miami Beach resident, I can tell you the process is almost complete.) The tone of the narration in the film is rueful, if not outright regret, in the past tense. I do not know if the narrator exists in Ferrera's version of the film. The narration seems out of character for Leonard based on the other novels I'm familiar with. Usually in a Leonard novel, no matter what happens, the protagonist goes along for the ride, making the best of bad, unlikely or impossible situations. A Leonard "hero" may be amused or bemused, but rarely regretful.

Leonard also will occassionally have characters from one novel make an appearance in another novel. In the case of the novel Cat Chaser, the mention of Marshall Sisco had extra significance.

That a couple of supporting characters get killed early may have been a way of reducing some of the narrative threads. This was probably done for the sake of narrative clarity for the film. Or quite possibly Leonard felt he had a different way of telling his story.

The most significant change is when DeBoya rapes Mary after confirming her infidelity. In the novel, Mary has been beaten and observes herself in a mirror, overwhelmed physically and emotionally by her husband. In the film, DeBoya humiliates Mary by forcing her to undress at gunpoint, followed by placing the gun barrel at her mouth and moving the gun down Mary's nude body to her vagina. From what I have read, this is one scene that was edited without Ferrera's approval. As Leonard is credited has the co-screenwriter for the film, I am hoping he or Ferrera will in some way make available information concerning these changes from the novel.

Where Ferrera leaves a bit of his signature is in the interiors of DeBoya's house. Some of the artwork on display reflects Latin American expressions of Catholicism. While not emphasised, Mary depicts the Madonna-whore schism. While Mary is engaged in an illicit affair, her marriage is sexless, as is that of a "bride of Christ". While less obvious, the rape scene and the portrayal of Mary echo some of Ferrera's recurring themes.

Leads Peter Weller and Kelly McGillis are acceptable, if bland, in their roles. More notable for their screen presence are supporting actors Phil Leeds, Charles Durning, Thomas Milian and Frederick Forrest. Weller later directed the film version of Leonard's Gold Coast.

The Latin jazz tinged music is the only feature score by Chick Corea, featuring the distinctive, sometimes mournful trumpet of Mark Isham.