Full Review

Brittany Murphy stars as Stacy Holt, a scrappy Jersey girl whose idol-worship is split between singer Carly Simon and TV journalist Diane Sawyer, whom she dreams of emulating. Mounting the first rung on the ladder to network news nirvana, Stacy lands a job as an associate producer on "The Kippie Kann Show," whose on-the-way-out host's (Kathy Bates) antics lean more toward Jerry Springer than Oprah Winfrey, all of which simply supplies a launching pad for the story's main conceit.

Holly Hunter plays Barb -- another producer on the show -- who suggests that before Stacy settles down with her live-in, hockey-obsessed boyfriend, Derek (Ron Livingston), she do a little investigative journalism into his past.

Purloining names, numbers and photos from Derek's Palm Pilot -- our digital age's answer to the film's eponymous little black book -- Stacy contacts several of his former girlfriends, including a libidinous supermodel (Josie Maran), a best-selling gynecologist (Rashida Jones), and a fitness-fanatic chef (Julianne Nicholson) who shares Derek's passion for the New Jersey Devils hockey team. Prodded by Barb, Stacy arranges to meet and interview her amorous antecedents -- using the ruse that she is considering using them as guests on the show -- only to discover that some of the embers left by old flames are still burning.

As directed by Nick Hurran, "Little Black Book" never decides whether it wants to be a light-spirited relationship farce or a satire on the circus-like atmosphere of live TV shows. Either could have worked; here neither does. The film awkwardly explores the same thematic territory as Jim Brooks' "Broadcast News," only without the latter's wit and finesse.

"Little Black Book" also makes copious references to "Working Girl," Mike Nichols' 1988 comedy from which this film channels much of its girl-power inspiration.

Murphy radiates an impish elan, her drowsy eyes emoting frisky enthusiasm and vulnerability. However, her mousy mugging grows increasingly grating. Hunter provides some sass, but her presence, like that of fellow Oscar winner Bates, has a take-the-money-and-run aroma about it.

The lightweight film touches on issues of trust and betrayal. And while the story ultimately imparts a positive message, the road to it is paved with deceitfulness (though Stacy does get an emotional comeuppance).

A contrived coda seems to suggest that spontaneity is the key, not only to success, but to happiness in life. As Stacy says, you must "let go of the wheel." This very well may be a recipe for felicity. It is also a good way to get into a wreck, which is what this film is.

Due to some sexual humor and scattered rough and crude language, the USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

Movies have been evaluated by the U.S. Conference of Catholic Bishop's Office for Film and Broadcasting according to artistic merit and moral suitability. The reviews include the USCCB rating, the Motion Picture Association of America rating, and a brief synopsis of the movie.

The classifications are as follows:

• A-I -- general patronage;
• A-II -- adults and adolescents;
• A-III -- adults;
• A-IV**
• L -- limited adult audience, films whose problematic content many adults would find troubling. L replaces the previous classification, A-IV.
• O -- morally offensive.