That Amelia is at odds with her Justice Department mother (Kim Basinger, in the Angie Dickinson/Shelley Winters role) nods to the rift between anti-porn and pro-sex work strands of feminism, with the McGuffin being a joke about porn's subversive potential. When the porn plot becomes supplanted by a larger auto industry conspiracy, it almost suggests that boomer/greatest generation business concerns were more harmful to their children than pornography, which is probably true. Much like "King in New York," when Chaplin's incisive screeds against capitalism were filtered through the snotty delivery of his son, Black has Amelia's rich, bratty activist lay out the particulars of the central conspiracy. Yet most of these tangents are scattershot, taking a backseat to both March and Healy's bickering, which offers endless avenues for Black's amusing dialectics of "who's on first?"; and their tough guy redemption narratives, hinging on being good in the eyes of March's daughter, with nearly everyone else being cannon fodder. The latter aspect becomes increasingly unfortunate when the two most prominent black actors in the film, Keith Davis and Yaya DaCosta (who I'd pay to see as leads in their own similarly-styled movie) get reduced to expendable goons. It's a POV way too 1977 to cavalierly throw about in 2016and a step back from the racially balanced casting in most of Black's oeuvre.