STARRING: Cameron Diaz, Drew Barrymore, Lucy Liu and Bill Murray

I had fairly low expectations for "Charlie’s Angels," the cinematic update of the "classic" seventies show. No one would ever mistake the original for "Masterpiece Theatre," but this one looked like it was going to go down in flames. The trailer seemed to promise a bubble-headed vanity project, wasting the talents of all involved. Add the extra baggage that most movies based on old TV shows just plain suck and the prognosis wasn’t good.

Damn, it’s nice to be surprised. To some extent, "Charlie’s Angels" is still a bubble-headed vanity project (Star/producer Drew Barrymore pulled the whole thing together from concept to finished product), but it’s also one helluva ride. It’s the celluloid equivalent of a ballpark frank and a cold beer. Not the finest meal ever, but damn tasty nonetheless.

For all my whining about a decent story and good acting, I still enter the theater with a desire to be entertained. In that respect, "Charlie’s Angels" delivers . . .and then some. The movie also introduces a promising new talent in director McG. Best known for helming videos for Smashmouth and Sugar Ray (he also did that line-dancing Gap commercial, but we’ll forgive him for that one), McG makes his feature debut with "Charlie’s Angels."

These actresses come together like a finely tuned butt-kicking machine.

Some movies made by music video directors look more like a demo reel than an actual film — all wild angles and technical wizardry, but no heart. McG creates some knockout visuals, but he never lets the camera overwhelm the story. He’s concocted a delicious convection that’s equal parts star power and pyrotechnics. Plus, the guy knows how to handle slow-motion in a fight scene. Way to go, McG!

"Charlie’s Angels" takes the basic concept of the original series — three babes fighting crime for their unseen boss — and kicks it up a notch. There’s the goofy blonde who’s a demon behind the wheel (Cameron Diaz’s Natalie), the brainy Asian (Lucy Liu’s Alex) and the tough redhead (Drew Barrymore’s Dylan). Unlike they’re seventies’ counterparts, however, these ladies are beautiful and dangerous. I never really thought Jill, Kelly or Sabrina were very tough — no matter how many judo moves they pulled in the opening credits. These new Angels can do more than open up a can of whup-ass. They can shotgun the little bugger and then ask for more.

"Charlie's Angels" is not Proust, but do we really want it to be? Just sit back and be entertained.

The story involves the Angels being hired to save a young software tycoon, (played by Sam Rockwell from "Galaxy Guest"), who’s been supposedly kidnapped by rival techno-magnate Tim Curry ("Congo"). Along the way, they spar with evil henchman Crispin Glover ("Back to the Future"). Hats off to the filmmakers for transforming George McFly into a convincing villain. And that’s just one of the surprises in store for audiences.

The movie’s twists come courtesy of writers Ryan Rowe ("Tapeheads"), Ed Solomon ("Men In Black") and John August ("Go" and Drew Barrymore’s upcoming "Barbarella" remake). There’s more plot here than I expected, but the narrative is still mainly used to get the Angels from one action sequence to the next. It’s also justification to dress them up like geishas or in little Swiss mountain girl outfits or wetsuits. Yes, this movie is a dream come true for the 13 year-old boy in all of us!

"Charlie’s Angels" is not Proust, but do we really want it to be? Just sit back and be entertained. There’s such an overwhelming sense of fun running throughout the whole thing that you kept help but get caught up in it. The main characters are a little more than archetypes, but the actresses are so appealing and seem to be having such a good time, you don’t really mind.

Diaz seems to be channeling both Suzanne Somers (during her "Three’s Company" heyday) and Michelle Yeoh while Barrymore sheds the last of her child star chains to play a buxom bad ass. As for Liu, she’s less annoying than usual. I was surprised by her quirky sweetness in this role. The chemistry of this flick’s leading trio is a major factor in its success.

There are only so many scenes you can watch of babe-a-licious private investigators before you long to see a pudgy, middle-aged guy onscreen.

Sometimes you can tell when actors are only pretending to like each other, but you don’t get that vibe in "Charlie’s Angels." Diaz, Barrymore and Liu make a great team. It’s rare to see camaraderie displayed so effortlessly onscreen. Their connection is most evident in the action scenes. Showing off fight choreography by Cheung-Yan Yuen ("Once Upon a Time in China"), the actresses come together like a finely tuned butt-kicking machine.

The supporting cast is equally strong. Bill Murray is inspired casting as Bosley, Charlie’s majordomo and the Angel’s right hand guy. He’s pretty much playing the same comic persona he’s been cultivating since his SNL days, but he keeps things moving. Murray’s a nice balance to the Angels. There’s only so many scenes you can watch of babelicious private investigators before you long to see a pudgy, middle-aged guy onscreen.

Sam Rockwell is also a standout. I haven’t seen much of his work, but I loved him as "Guy, the crewman who always dies before the opening credits" in "Galaxy Guest." Rockwell is great in this film. His character is a lot more important to the story than you first imagine and he works that little tidbit to his advantage. Like most of this movie, Rockwell’s just plain fun to watch.

"Charlie’s Angels" has all the verve that was missing from this summer’s bland blockbusters. In only her second outing as a producer (the first being the sweet and goofy "Never Been Kissed"), Barrymore has made a popcorn flick that’s exhilarating from start to finish. Maybe uber-producer Jerry Bruckheimer ("Gone in 60 Seconds") should take some notes from the new kid in class. Now if you’ll excuse me, I’m going to get in line to see it again.