Although its profane tone and dialogue are very much of the 1980's, The Boost plays like the kind of ham-fisted message fare that came out during the 1950's. Darryl Ponicsan's fast-paced script hits all the requisite "rise and fall" beats the story needs but it moves so fast that a lot of the connective tissue between these beats feels like it is missing, resulting in plot leaps and changes in character that hit the viewer with all the subtlety of a flying mallet. It also has some cringe-inducing cliché dialogue whenever the characters get philosophical about life and love. More importantly, the anti-drug angle seems like an afterthought that isn't integrated effectively into the storyline. Director Harold Becker keeps the narrative moving forward in a technically competent manner but mainly leaves the actors to their own devices. This was an unwise choice because James Woods chews up the scenery with mad abandon -- he seems over-the-edge in the very first scene - while Sean Young delivers a series of line-readings so bland she seems to be in another movie. As a result, the duo has no chemistry whatsoever and the audience has little reason to become invested in the travails of their rocky relationship. In fairness to Woods, his commitment to the role and consistent high energy make his work here impressive to watch (particularly during an emotional-meltdown scene in a restaurant near the end of the film) but his work is so overblown that it veers into campiness. By the time the credits roll, the viewer is more likely to feel relief than sorrow.