Writers Nicholas Stoller and Judd Apatow remake is more devilish, hitting its targets with the reckless glee required for a round of Whac-A-Mole.

A pitch-perfect farce for the post-Enron era.

There's something quietly but unmistakably angry underneath all the slapstick.

Carrey rolls his eyes and waggles his arms, and Leoni keeps up with him while pushing less hard. He externalizes, she internalizes, and the balance works as it might in a good marriage.

It's a consistently funny script, tastefully packaged by super-producer Brian Grazer and directed with just the right touch by Dean Parisot.

The rare Hollywood remake that, by daring to reinterpret its source material within a fresh political context, actually has a reason to exist.

Fun With Dick and Jane has lived up to its title: It's fun, and that's fine.

Recycles the 1977 comedy right down to repeating the same mistakes.

Mr. Carrey is such an attention hog that most actresses have a hard time holding on to their corner of the screen when he's onboard, especially in broader comedies. But Ms. Leoni never cedes her ground. Both performers exude such acute neediness - there's a touch of Jerry Lewis and Lucille Ball in their mutual frenzy - that not to love them even a little would seem cruel.

Plays like the setup for a movie that never materializes. It has all the elements for a successful comedy, but once the premise is presented, the film doesn't know how to deliver on its promise. That doesn't mean there is no fun in "Fun."

Carrey's back on top slapstick form and brews up great chemistry with Leoni.

Carrey's brand of exhausting physical comedy is a far cry from Segal's useful bewilderment, so this ride is both rougher and loonier.

Most of it plays out as sub-medium-grade farce, but Carrey has some funny calisthenic bits where he appears to have the pliability of a rubber toy.

As social commentary, Fun With Dick and Jane wears Leno-thin. As a big-screen sitcom, it's a procession of hit-or-miss touches that cancel each other out.