Like its predecessor Ocean's Eleven, Ocean's Twelve is a piffle of a caper, a preposterous plot given juice and vitality by a combination of movie star glamour and the exuberant filmmaking skill of director Steven Soderbergh (Out of Sight, The Limey). The heist hijinks of the first film come to roost for a team of eleven thieves (including the glossy mugs of Brad Pitt, Matt Damon, Bernie Mac, and Don Cheadle), who find themselves pursued not only by the guy they robbed (silky Andy Garcia), but also by a top-notch detective (plush Catherine Zeta-Jones) and a jealous master thief (well-oiled Vincent Cassel) who wants to prove that team leader Danny Ocean (dapper George Clooney) isn't the best in the field. As if all that star power weren't enough--and the eternally coltish Julia Roberts also returns as Ocean's wife--one movie star cameo raises the movie's combined wattage to absurd proportions. But all these handsome faces are matched by Soderbergh's visual flash, cunning editing, and excellent use of Amsterdam, Paris, and Rome, among other highly decorative locations. The whole affair should collapse under the weight of its own silliness, but somehow it doesn't--the movie's raffish spirit and offhand wit soar along, providing lightweight but undeniable entertainment. --Bret Fetzer

The Zorro brand of hot-blooded derring-do returns with The Legend of Zorro, starring Antonio Banderas and Catherine Zeta-Jones in the roles that brought them stardom with The Mask of Zorro. Now married for ten years and parents to young rascal Joaquim (charming Adrian Alonso, perhaps being set up for a future Son of Zorro), dashing swordsman Alejandro (Banderas, a Spaniard playing a Mexican) and sultry spitfire Elena De La Vega (Zeta-Jones, a Welshwoman playing a Spaniard) abruptly divorce, sending Alejandro on a drunken binge--which only gets worse when he learns Elena is being wooed by the mysterious Armand (Rufus Sewell, a Brit playing a Frenchman). Little does Alejandro know that Elena has ulterior motives, and that a worldwide conspiracy and a secret weapon will soon threaten the integrity of the U.S. The Legend of Zorro has way too much plot, leaving room for only two genuinely preposterous donnybrooks and a handful of lackluster brawls. Banderas and Zeta-Jones flash a bit of their considerable charisma, but by and large they (and the movie as a whole) are on autopilot. Not awful, but lacking any real spark. --Bret Fetzer

High concept and high class, An American Classic is a worthy visual complement to Tony Bennett's 2006 duets CD of the same name. The notion of pairing veteran artists with a variety of singing partners is nothing new, of course (cf. B.B. King and Frank Sinatra, among many others), but this one goes a step further; under the direction of Rob Marshall (Chicago, Memoirs of a Geisha) and his team, Bennett appears in what's described as a "docu-musical," faithfully re-creating a variety of performance settings much like the ones in which the 80-year-old singer has appeared in the course of his long, fruitful career. Thus we find him on a concert stage with Barbra Streisand ("Smile"), in a nightclub with John Legend (a swinging, uptempo "Sing, You Sinners"), in the studio with k.d. lang and trumpeter Chris Botti ("Because of You"), on a '60s-style TV variety show with Diana Krall (a classy "The Best is Yet to Come"), in Vegas with Elton John ("Rags To Riches") and then Michael Buble (an amusing "Just in Time"), and so forth, on up to Bennett's triumphant shot on MTV Unplugged with Christina Aguilera (no jazz singer, but she keeps most of her excesses in check on "Steppin' Out") and the inevitable "I Left My Heart in San Francisco" (Bennett with piano accompaniment only). It's all very respectful, well staged, and entertainingly choreographed, but if this 45-minute cavalcade has a significant shortcoming, it's that it mostly lacks fire and spontaneity; the only time Bennett cuts loose is during an audio-only "I Got Rhythm" heard under the various DVD menus. Viewers may also be disappointed that Sting, Bono, Paul McCartney, James Taylor, the Dixie Chicks, and several others on the CD do not appear here, and it's a notable drag that not a single one of the composers or arrangers of the material is identified. Bonus features include a "making of" documentary and other featurettes. --Sam Graham

Featuring a huge cast of characters, the ambitious and breathtaking Traffic is a tapestry of three separate stories woven together by a common theme: the war on drugs. In Ohio, there's the newly appointed government drug czar (Michael Douglas) who realizes after he's accepted the job that he may have gotten into a no-win situation. Not only that, his teenage daughter (Erika Christensen) is herself quietly developing a nasty addiction problem. In San Diego, a drug kingpin (Steven Bauer) is arrested on information provided by an informant (Miguel Ferrer) who was nabbed by two undercover detectives (Don Cheadle and Luis Guzmán). The kingpin's wife (Catherine Zeta-Jones), heretofore ignorant of where her husband's wealth comes from, gets a crash course in the drug business and its nasty side effects. And south of the border, a Mexican cop (Benicio Del Toro) finds himself caught between both his home country and the U.S., as corrupt government officials duke it out with the drug cartel for control of trafficking various drugs back and forth across the border.

Bold in scope, Traffic showcases Steven Soderbergh at the top of his game, directing a peerless ensemble cast in a gritty, multifaceted tale that will captivate you from beginning to end. Utilizing the no-frills techniques of the Dogme 95 school, Soderbergh enhances his hand-held filming with imaginative editing and film-stock manipulation that eerily captures the atmosphere of each location: a washed-out, grainy Mexico; a blue and chilly Ohio; and a sleek, sun-dappled San Diego. But Traffic is more than a film-school exercise. Soderbergh and screenwriter Stephen Gaghan (adapting the British TV miniseries Traffik to the U.S.) seamlessly weave the threads of each separate plotline into one solid tale, with the actions of one plot having quiet repercussions on the other two. And if you needed more proof that Soderbergh takes unparalleled care with his actors, practically all the members of this cast turn in their best work ever, the standout being an Oscar-worthy Del Toro as the conflicted moral conscience of the film. While no story is fully resolved in the film, you'll be haunted by these characters days after you've seen the film. By far one of the best movies of 2000. --Mark Englehart

Bob Fosse's sexy cynicism still shines in Chicago, a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but Chicago reeks of '70s disenchantment--this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. --Robert Horton

This plain-vanilla version of the old Lee Falk comic strip stars Billy Zane as a 1930s incarnation of the Phantom, an African-based, masked hero whose forefathers have all donned the costume at one time or another. Sworn to crush evil, the Phantom leaves his jungle lair to venture to New York, where he takes on a charming but criminal mastermind (Treat Williams). There's no oomph to this film at all. The very capable director Simon Wincer (Phar Lap) seems to be working with a leaden production and an inferior talent pool behind the camera. The talent in front of the camera do their best, but it isn't enough. --Tom Keogh

Bob Fosse's sexy cynicism still shines in Chicago, a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but Chicago reeks of '70s disenchantment--this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. --Robert Horton

Sean Connery plays a master thief thought to be long retired, while Katherine Zeta-Jones is his foil, a hotshot insurance investigator assigned to his case. They both have a little something to hold over each other's heads, until it turns out that Zeta-Jones is a professional art thief herself and is playing on both sides of the fence. At first they eye each other with mutual distrust until they team up for a job, which goes off without a hitch. Inevitably their prickly relationship begins to thaw somewhat, and the two become attracted to each other as they plan out the massive Y2K bank scam that is the movie's climax (complete with sequel-ready ending). Entrapment plays somewhat like a '70s caper movie revamped for the gadget-happy high-tech '90s. The plot takes a few too many labored twists and turns, and the chemistry between the two leads is nearly nonexistent, though both carry on gamely in their parts. On the other hand, there is some genuine suspense in many scenes as they go about their business, dripping with whiz-bang burglary devices. Zeta-Jones, of course, is drop-dead gorgeous, and Connery is as reliable as always in his role. The fairly flat editing and direction tends to drag the film down somewhat, but fans of caper movies, high-tech thrillers, and the two leads should find plenty to like in this film. --Jerry Renshaw

Like an airport running at peak efficiency, The Terminal glides on the consummate skills of its director and star. Having refined their collaborative chemistry on Saving Private Ryan and Catch Me if You Can, Steven Spielberg and Tom Hanks mesh like the precision gears of a Rolex, turning a delicate, not-very-plausible scenario into a lovely modern-age fable (partly based on fact) that's both technically impressive and subtly moving. It's Spielberg in Capra mode, spinning the featherweight tale of Victor Navorski (Hanks, giving a finely tuned performance), an Eastern European who arrives at New York's Kennedy Airport just as his (fictional) homeland has fallen to a coup, forcing him, with no valid citizenship, to take indefinite residence in the airport's expansive International Arrivals Terminal (an astonishing full-scale set that inspires Spielberg's most elegant visual strategies). Spielberg said he made this film in part to alleviate the anguish of wartime America, and his master's touch works wonders on the occasionally mushy material; even Stanley Tucci's officious terminal director and Catherine Zeta-Jones's mixed-up flight attendant come off (respectively) as forgivable and effortlessly charming. With this much talent involved, The Terminal transcends its minor shortcomings to achieve a rare degree of cinematic grace. --Jeff Shannon

The Zorro brand of hot-blooded derring-do returns with The Legend of Zorro, starring Antonio Banderas and Catherine Zeta-Jones in the roles that brought them stardom with The Mask of Zorro. Now married for ten years and parents to young rascal Joaquim (charming Adrian Alonso, perhaps being set up for a future Son of Zorro), dashing swordsman Alejandro (Banderas, a Spaniard playing a Mexican) and sultry spitfire Elena De La Vega (Zeta-Jones, a Welshwoman playing a Spaniard) abruptly divorce, sending Alejandro on a drunken binge--which only gets worse when he learns Elena is being wooed by the mysterious Armand (Rufus Sewell, a Brit playing a Frenchman). Little does Alejandro know that Elena has ulterior motives, and that a worldwide conspiracy and a secret weapon will soon threaten the integrity of the U.S. The Legend of Zorro has way too much plot, leaving room for only two genuinely preposterous donnybrooks and a handful of lackluster brawls. Banderas and Zeta-Jones flash a bit of their considerable charisma, but by and large they (and the movie as a whole) are on autopilot. Not awful, but lacking any real spark. --Bret Fetzer

Sinbad: Legend of the Seven Seas, an animated adventure from the DreamWorks studio, has little connection to the original fables from the Arabian Nights, but it's an entertaining romp nonetheless. Sinbad (voiced by the midwest vowels of Brad Pitt) gets commissioned by the wicked goddess Eris (Michelle Pfeiffer) to steal a magical book called the Book of Peace from the city of Syracuse--but the prince of Syracuse turns out to be a childhood friend of Sinbad's. So Eris steals the book herself and frames Sinbad, making the hero sail to the edge of the world to get it back, accompanied by Marina (Catherine Zeta-Jones), a woman he's secretly loved for years. The movie skillfully blends hand-drawn and computer images. The storyline is surprisingly well-constructed and actually has some thoughts about friendship and personal fiber, while providing all the swashbuckling, derring-do, and cliffhangers you could want. --Bret Fetzer

America's Sweethearts is just the kind of romantic froth that makes for pleasant viewing on a lazy, rainy day. While Julia Roberts, John Cusack, and Catherine Zeta-Jones offer high-wattage marquee value, costar and cowriter Billy Crystal reworks Singin' in the Rain for latter-day Hollywood, where estranged superstars Gwen (Zeta-Jones) and Eddie (Cusack) reluctantly promote their latest movie by pretending their messily disputed relationship is still going strong. The studio chief (Stanley Tucci) is desperate for a hit, so he hires a seasoned publicist (Crystal) to orchestrate a press junket that will cast everyone in a profitable light. The catch: The director (Christopher Walken) has abducted his own film in an act of artistic extortion, and Gwen's sister and longtime assistant Kiki (Roberts) is the true object of Eddie's desire.

Chaos ensues at the luxury hotel where the junket is scheduled, and America's Sweethearts pokes easy fun at the cynical machinery that keeps Hollywood running. Quotable quips are delivered in abundance, and while Zeta-Jones is readily convincing as a bitchy narcissist, Roberts effortlessly steals the show with her trademark charms. All of which makes America's Sweethearts lightly entertaining, even though it never rises (like Roberts's earlier Notting Hill) to the level of classic romantic comedy, hampered by a script that too often substitutes easy laughs for ripe satirical invention, flashing a phony grin when it should be baring its fangs. --Jeff Shannon

A sleek George Clooney and a seductive Catherine Zeta-Jones square off magnificently in the divorce comedy Intolerable Cruelty. The plot is simple: Lawyer supreme Miles Massey (Clooney, Out of Sight, Ocean's Eleven) skillfully outmaneuvers gold-digger Marylin Rexroth (Zeta-Jones, Chicago, Traffic) when she divorces her wealthy husband--and she sets out to get revenge. But this movie comes from the creative minds of the Coen Brothers (Fargo, Raising Arizona, O Brother Where Art Thou?), and so Intolerable Cruelty includes a Scottish wedding chapel in Vegas, an asthmatic hit man, fluffy-dog-stroking European nobility, and a legendarily unbreakable pre-nuptial agreement. Still, it's pretty restrained for the Coens; smooth and consistent, it never stumbles as disappointingly as their movies can, but also never quite hits the operatic pitch of their best work. It's still damn funny, though, with top-notch performances from the leads as well as Geoffrey Rush, Cedric the Entertainer, and Billy Bob Thornton. --Bret Fetzer

Like an airport running at peak efficiency, The Terminal glides on the consummate skills of its director and star. Having refined their collaborative chemistry on Saving Private Ryan and Catch Me if You Can, Steven Spielberg and Tom Hanks mesh like the precision gears of a Rolex, turning a delicate, not-very-plausible scenario into a lovely modern-age fable (partly based on fact) that's both technically impressive and subtly moving. It's Spielberg in Capra mode, spinning the featherweight tale of Victor Navorski (Hanks, giving a finely tuned performance), an Eastern European who arrives at New York's Kennedy Airport just as his (fictional) homeland has fallen to a coup, forcing him, with no valid citizenship, to take indefinite residence in the airport's expansive International Arrivals Terminal (an astonishing full-scale set that inspires Spielberg's most elegant visual strategies). Spielberg said he made this film in part to alleviate the anguish of wartime America, and his master's touch works wonders on the occasionally mushy material; even Stanley Tucci's officious terminal director and Catherine Zeta-Jones's mixed-up flight attendant come off (respectively) as forgivable and effortlessly charming. With this much talent involved, The Terminal transcends its minor shortcomings to achieve a rare degree of cinematic grace. --Jeff Shannon

Suffering from the extreme bad luck of being released at the same time as the low-budget The Blair Witch Project, this adaptation of The Haunting of Hill House attempts to update Shirley Jackson's psychologically terrifying ghost story to the era of big-budget, computerized special effects. Does it work? Well, let's just say that showing isn't exactly the same as telling. A prime example of bloated studio filmmaking, The Haunting telegraphs all its frights so blatantly that it forsakes any of Jackson's subtle horrors for the remedial scares of a clunky carnival ride. The story remains basically the same, with four people called to an old mansion for experiments in the supernatural, but instead of getting inside the heads of its main characters (as the 1963 adaptation by Robert Wise did so well), Jan DeBont's film deserts character development for the huge, glorious set design provided by Eugenio Zanetti (Restoration). Thus, instead of a well-drawn story you get... a well-drawn house, one that four very talented and underutilized actors--Lili Taylor, Catherine Zeta-Jones, Liam Neeson, and Owen Wilson--wander around in endlessly (as Zeta-Jones puts it, the house is "sort of Charles Foster Kane meets the Munsters"). Taylor, as the hypersensitive Nell, is the unknowing lynchpin in the battle between good and bad ghosts and gets saddled with most of the expository dialogue of the mansion's gothic backstory. Zeta-Jones (showing some spark) and Neeson (showing none) are sadly reduced to providing reactionary shots of the film's disastrous climax, which mixes hapless new-age affirmations with computer-generated effects of ghosts and exploding windows, walls, doors, etc. For this haunted-house story, take a quick tour of the breathtaking rooms, but definitely don't stay the night. --Mark Englehart

Russian history occurs on a sweeping scale, but that takes a bigger budget than A&E can muster. So instead the cable network keeps its treatment of Russian empress Catherine II indoors as much as possible. That allows the camera to linger over the impossibly lovely face of Catherine Zeta-Jones, and the plot to focus on the political machinations of 18th-century Russia. Catherine goes from a bookish teen bride (her husband is the crazy and possibly impotent nephew of Russia's Empress Elizabeth) to the legendary empress who successfully concluded the Seven Years' War with Prussia, conquered Turkey, and put down a rebellion led by a Cossack pretending to be her long-dead husband.

The movie stumbles a bit when it ventures outdoors--it's hard to imagine Russia really conquered the Ottoman Turks with a 12-man army--but sizzles inside. Zeta-Jones conveys both passion and hard-edged ambition as her character transforms herself from manipulated to manipulator. Many of those manipulations occur in the bedroom, and the movie takes some liberties in portraying her union with military leader Grigory Potemkin (Paul McGann); here he's practically a saint, although history remembers him a bit less nobly.

The supporting cast includes Jeanne Moreau in a masterful portrayal of Empress Elizabeth, along with Ian Richardson, Mel Ferrer, and Omar Sharif. Although there's plenty of scenery for them to chew, they hold back, allowing Zeta-Jones her 100 minutes of greatness. --Kimberly Heinrichs

Sinbad: Legend of the Seven Seas, an animated adventure from the DreamWorks studio, has little connection to the original fables from the Arabian Nights, but it's an entertaining romp nonetheless. Sinbad (voiced by the midwest vowels of Brad Pitt) gets commissioned by the wicked goddess Eris (Michelle Pfeiffer) to steal a magical book called the Book of Peace from the city of Syracuse--but the prince of Syracuse turns out to be a childhood friend of Sinbad's. So Eris steals the book herself and frames Sinbad, making the hero sail to the edge of the world to get it back, accompanied by Marina (Catherine Zeta-Jones), a woman he's secretly loved for years. The movie skillfully blends hand-drawn and computer images. The storyline is surprisingly well-constructed and actually has some thoughts about friendship and personal fiber, while providing all the swashbuckling, derring-do, and cliffhangers you could want. --Bret Fetzer

Sean Connery plays a master thief thought to be long retired, while Katherine Zeta-Jones is his foil, a hotshot insurance investigator assigned to his case. They both have a little something to hold over each other's heads, until it turns out that Zeta-Jones is a professional art thief herself and is playing on both sides of the fence. At first they eye each other with mutual distrust until they team up for a job, which goes off without a hitch. Inevitably their prickly relationship begins to thaw somewhat, and the two become attracted to each other as they plan out the massive Y2K bank scam that is the movie's climax (complete with sequel-ready ending). Entrapment plays somewhat like a '70s caper movie revamped for the gadget-happy high-tech '90s. The plot takes a few too many labored twists and turns, and the chemistry between the two leads is nearly nonexistent, though both carry on gamely in their parts. On the other hand, there is some genuine suspense in many scenes as they go about their business, dripping with whiz-bang burglary devices. Zeta-Jones, of course, is drop-dead gorgeous, and Connery is as reliable as always in his role. The fairly flat editing and direction tends to drag the film down somewhat, but fans of caper movies, high-tech thrillers, and the two leads should find plenty to like in this film. --Jerry Renshaw

A sleek George Clooney and a seductive Catherine Zeta-Jones square off magnificently in the divorce comedy Intolerable Cruelty. The plot is simple: Lawyer supreme Miles Massey (Clooney, Out of Sight, Ocean's Eleven) skillfully outmaneuvers gold-digger Marylin Rexroth (Zeta-Jones, Chicago, Traffic) when she divorces her wealthy husband--and she sets out to get revenge. But this movie comes from the creative minds of the Coen Brothers (Fargo, Raising Arizona, O Brother Where Art Thou?), and so Intolerable Cruelty includes a Scottish wedding chapel in Vegas, an asthmatic hit man, fluffy-dog-stroking European nobility, and a legendarily unbreakable pre-nuptial agreement. Still, it's pretty restrained for the Coens; smooth and consistent, it never stumbles as disappointingly as their movies can, but also never quite hits the operatic pitch of their best work. It's still damn funny, though, with top-notch performances from the leads as well as Geoffrey Rush, Cedric the Entertainer, and Billy Bob Thornton. --Bret Fetzer

Sean Connery plays a master thief thought to be long retired, while Katherine Zeta-Jones is his foil, a hotshot insurance investigator assigned to his case. They both have a little something to hold over each other's heads, until it turns out that Zeta-Jones is a professional art thief herself and is playing on both sides of the fence. At first they eye each other with mutual distrust until they team up for a job, which goes off without a hitch. Inevitably their prickly relationship begins to thaw somewhat, and the two become attracted to each other as they plan out the massive Y2K bank scam that is the movie's climax (complete with sequel-ready ending). Entrapment plays somewhat like a '70s caper movie revamped for the gadget-happy high-tech '90s. The plot takes a few too many labored twists and turns, and the chemistry between the two leads is nearly nonexistent, though both carry on gamely in their parts. On the other hand, there is some genuine suspense in many scenes as they go about their business, dripping with whiz-bang burglary devices. Zeta-Jones, of course, is drop-dead gorgeous, and Connery is as reliable as always in his role. The fairly flat editing and direction tends to drag the film down somewhat, but fans of caper movies, high-tech thrillers, and the two leads should find plenty to like in this film. --Jerry Renshaw

Like an airport running at peak efficiency, The Terminal glides on the consummate skills of its director and star. Having refined their collaborative chemistry on Saving Private Ryan and Catch Me if You Can, Steven Spielberg and Tom Hanks mesh like the precision gears of a Rolex, turning a delicate, not-very-plausible scenario into a lovely modern-age fable (partly based on fact) that's both technically impressive and subtly moving. It's Spielberg in Capra mode, spinning the featherweight tale of Victor Navorski (Hanks, giving a finely tuned performance), an Eastern European who arrives at New York's Kennedy Airport just as his (fictional) homeland has fallen to a coup, forcing him, with no valid citizenship, to take indefinite residence in the airport's expansive International Arrivals Terminal (an astonishing full-scale set that inspires Spielberg's most elegant visual strategies). Spielberg said he made this film in part to alleviate the anguish of wartime America, and his master's touch works wonders on the occasionally mushy material; even Stanley Tucci's officious terminal director and Catherine Zeta-Jones's mixed-up flight attendant come off (respectively) as forgivable and effortlessly charming. With this much talent involved, The Terminal transcends its minor shortcomings to achieve a rare degree of cinematic grace. --Jeff Shannon

Wax up your boards and hang 10 (or whatever) where the big waves come crashing in: off the English coast at Cornwall. Huh? No endless summer? No two girls for every boy? No, but in Blue Juice one can see what most of us probably never even thought about: the British Isles are indeed islands and, not incongruously, there's a considerable surfing culture with a handful of homegrown legends. One of the latter is JC (Sean Pertwee), a skilled surfer so driven by the challenge and so dedicated to his mates that it threatens his meandering romance with the long-suffering Chloe (Catherine Zeta-Jones). The two have planned an extensive, around-the-world trip as a kind of prelude to discussing marriage, but the arrangement is threatened when three of JC's old childhood chums arrive from London. One of them (played by Steven Mackintosh) is a famous record producer who has sold his soul (in every sense) to reap profits from fashionable electronica. Another (Ewan McGregor) is a chronic screwup resorting to hustling junk to unsuspecting customers. The last (Peter Gunn) is an anxious sort terrified of marrying his longtime girlfriend. Together, these four guys look like a pack of nowhere men and they know it: while the story largely focuses on JC and Chloe, there's plenty of material for the supporting characters to indulge in mucho self-loathing. The film never quite jumps off the screen and the script may be hampered by too many layers of character eccentricity, but this is still an enjoyable piece with some fine comic performances. --Tom Keogh