In the opening scene of this sequel to the wildly entertaining "Get Shorty," John Travolta’s Chili Palmer admits his distaste for sequels and that when he was a loan shark "…at least I was honest about being dishonest."

After watching this painful film, I could not help but wonder if that scene was shot after Travolta viewed this movie’s final print, his comment an embarrassed warning to an unsuspecting audience.

Once again based on an Elmore Leonard novel, "Be Cool" must have lost its cleverness in its transfer to the screen. A movie that tries way too hard to be cutting edge funny-- "Be Cool" falls flat on its very unhip face.

Travolta reprises his role as the savvy, smooth-talking Chili Palmer, who is disenchanted with filmmaking (remember those nasty sequels?) and decides to try his hand at the music industry.

Uma Thurman is the recently widowed music exec who teams up with Travolta in promoting the career of Linda Moon (Milian) despite a variety of nefarious characters who claim to have her under contract. There is some additional baloney about money owed and Russian gangsters but—trust me—it doesn’t matter and you really won’t care. The plot is a confusing jumble of double-crossing, threats and several killings that are peculiarly juxtaposed with comedy. It all makes little sense and evokes minimal laughs.

The biggest problem with "Be Cool" is Travolta’s Chili Palmer character. Many people will shell out a near ten bucks to see Travolta—his popularity is a huge draw—to be disappointed with his one-note performance and one-dimensional character. Palmer is a near super hero here, warding off huge guns and thugs with his persuasive charm and salesmanship. There is no humanity to this guy and his character is so perfectly bland. Indeed, his dark suit and shirt remain the same throughout the entire film. By the movie’s conclusion, I was nauseated at the sight of Travolta’s smirky, self-satisfied smile ¾ and I consider myself a fan.

The Rock plays sidekick/bodyguard to Vince Vaughn with a gay twist that might amuse a few shallow souls. Vaughn’s turn as a white music producer who thinks he’s a rapper will be mildly humorous to those familiar with the lingo. Likewise, Cedric the Entertainer and his ammo-ed gang from the hood. Otherwise, it’s an annoying in-joke.

The movie is constantly winking at itself. Harvey Keitel’s Nick Carr, always wears a phone headset and forever talking to his buddy "Marty," (Scorcese, anyone?). Aerosmith’s Steve Tyler belittles bands that appear in movies.

Reportedly, Travolta requested Thurman for her role, hoping to rekindle their "Pulp Fiction" chemistry. Alas, Thurman seems to be reading her lines from cue cards and more concerned with her wardrobe display than any rapport with her leading man. Their hyped-up dance scene is entertaining but a mere speck in this endless film.

Sandwiched between the supposed intrigue and the budding Travolta/Thurman romance, Christina Milian belts out a few memorable tunes ¾ one a duet with the movie-shy Tyler. Clearly her presence is a lame adjunct to this already weak plot but her strong vocals are a welcome relief in this otherwise embarrassing display of wasted talent.