(Cert 15, 95mins): Starring Sean Penn, Naomi Watts, Dob Cheadle, Jack Thompson and Michael Wincott. Directed by Niels Mueller.

Based on a little-known footnote in modern America history the attempted assassination of the 37th President of the United States by an emotionally disturbed salesman Niels Muellers feature debut also runs the risk of disappearing without a trace.

Despite an incendiary lead performance from Sean Penn, the film fails to serve up any food for thought.

In 1974, 44-year-old office supplies salesman Samuel J Bicke (Penn) is on the verge of a nervous breakdown. Separated from his wife Marie (Watts) who refuses his attempts at reconciliation, and estranged from his successful businessman brother Julius (Wincott) Bicke sees insincerity and deceit all around him.

In his work, he is forced to bend the truth to secure sales, or face humiliation at the hands of his boss Jack Jones (Thompson) who believes Richard Nixon is the greatest salesman in history for swindling the American public not once but twice.

But Samuel regards Nixon as a villain, wooing the public with his slick TV addresses and fancy rhetoric.

The only shard of hope in his life is a business proposal to open a door-todoor tyre repair service with his mechanic friend Bonny (Cheadle).

For the plan to succeed, Samuel needs to secure a modest bank loan. He applies and waits anxiously for news.

As the days pass, Samuel gradually loses his grasp on reality, self-control and his temper. He is infuriated by the abusiveness of some of Bonnys customers, who mistreat him simply because he is black, and disgusted Marie should have to wear short skirts for her job as a bar waitress to support their three children.

So when misfortune comes knocking at Samuels door, he looks for someone to blame and focuses on Nixon. Considering the calibre of acting talent on show, The Assassination Of Richard Nixon is a disappointment.

Penn is mesmerising, his face racked with misery and rage as life deals Samuel another poor hand, but Watts and Cheadle remain too much on the periphery.

Muellers gritty visual style reflects the gradual unravelling of the lead character but so much style cannot disguise a lack of genuine substance.

We want to understand Samuel but there is nothing in the film which lets us. Bicke, whose actions were eclipsed by the Watergate scandal, remains an enigma.