It would be difficult to formulate a coherent film composed of the disparate elements that the director and others obviously felt obliged to include within this scenario, but a worthy attempt is made, only falling apart after the first half. A Pre-Columbian ceremonial disc, golden and bejewelled, has been split asunder, and while one half is displayed in a New York City museum's permanent collection, the other segment has become the subject of a search expedition to an Andean region, under the aegis of American archaeologist Brooks Willings (David Keith), who is obsessed with bringing about its recovery. His wife and daughter have remained in New York but when young Diana (Camilla Belle) has become a disciplinary problem in her school, the two join Brooks in the Andean village where his expedition is based, his wife hoping to correct Diana's behavioural distress, only to be burdened by additional plights originating from their new situation. Continuity falters at this point as Diana becomes enmeshed in village mystic rites, Brooks and his wife (played ably by Nancy Allen) fall into serious marital discord, a Catholic priest, portrayed with humour by John Rhys-Davies is tormented by local cultists, the expedition has developed personnel and funding shortages, et alia, - too many threads to be woven into an accomplished storyline. To solve its many self-imposed conundra, the work lapses into inane fantasy, including silly special effects, as a facile resolution. Keith is wooden, manifestly uninspired by his role, but Belle is effective and the timing of Rhys-Davies is deserving of study, while acting laurels go to the superb East Indian Roshan Seth, who easily dominates each of his scenes in the part of a shaman with extraordinary wisdom and magical powers. Shot in northern Argentina's scenic province of Salta, the picture benefits from both the cinematography of Maximo Munzi and the faithfully ethnic scoring of Luis Bacalov; if only a way had been seen to strengthen the stuttering scenario.