Director/screenwriter Diane English's 2008 update of George Cukor's 1939 MGM classic comedy unfortunately shows more mothballs than its predecessor. Based on Clare Booth Luce's shrewdly observant 1936 play on the relationships that evolve among a strictly female group of pampered Manhattan socialites, the story would seem ripe for a contemporary remake. Instead, because of English's thematic overreach, the production comes across as an extended therapy session with a paucity of wit. What's more, the diverse lifestyles of women today have been reduced to sitcom-level stereotypes in this movie, and the original play's central conceit of eliminating men from the storyline seems even more contrived given the openly pansexual evolution that has occurred among men as well as women since the 1930's. To add insult to injury, the recent big screen adaptation of HBO's "Sex and the City" did this sort of sorority-style dishing much better and with far sharper fangs.

The skeleton of the original play remains as the story centers on wealthy Mary Haines, who gave up her promising clothing design career to become the devoted wife of a Wall Street financial wizard. Like "Sex and the City", she is surrounded by three best friends - Sylvie Fowler, a successful, cutthroat magazine editor in the mold of Miranda Priestly in "The Devil Wears Prada" (yet another film this echoes); perennially pregnant Edie Cohen representing the stay-at-home wife; and Alex Fisher, a lesbian author who seems to represent every repressed group generally excluded from such an exclusive clique. Through a mouthy manicurist, they find out Mary's husband is having an affair with man-eater Crystal Allen, a perfume girl at Saks more than willing to break up a marriage as she struggles to become an actress. The rest of the plot doesn't matter much since it becomes a series of scenes focused on sisterly bonding and bickering, none of it very illuminating and without the satirical zing that buoyed the 1939 movie.

Looking strangely youthful at 47, Meg Ryan seems to play Mary in a manner that tries to resuscitate the goodwill she engendered in the 1990's with "When Harry Met Sally" and "Sleepless in Seattle". It's not that she isn't age-appropriate here, but her familiar sprightliness seems at odds with the character's passive nature. Annette Bening fares somewhat better in the scene-stealing Rosalind Russell role of Sylvie because she has proved to be adept at conveying hardness while masking vulnerability, but her character goes through such a trite transformation that it undermines the actress' performance severely. Poor Eva Mendes has to play Crystal as a shallow, transparent shopgirl versus the smart, hard-edged cookie Joan Crawford got to play. Debra Messing and Jada Pinkett Smith are scooted way to the sidelines as Edie and Alex, respectively. Much better are Candice Bergen as Mary's savvy, supportive mother and Cloris Leachman as the non-nonsense housekeeper.

Probably reflecting the lackluster box office response to the film's release, the 2008 DVD doesn't have a robust set of extras. There are two deleted scenes - one with Crystal and her friends having a girls' night-in as a contrast to Mary's elaborate garden party, and the other an extension of Bette Midler's cameo as a multi-married Hollywood agent counseling Mary during a late night at a yoga camp. Two featurettes round out the extras" "The Women: The Legacy" about the history behind the film from the original 1936 play, and "The Women Behind the Women" which has the cast and crew speak endlessly about female self-empowerment and self-image. The irony is that this version of "The Women" directed and scripted by a woman takes such a patronizing look at women.

Sentiment: negative