While those choices work on an intellectual level, the plot's balance rarely feels right. Whenever Reeves' story starts to get compelling, we have to leave him for long, uninvolving scenes with Simo, while Simo's most raw and revelatory moments are interrupted by Reeves. The filmmakers further complicate matters by throwing in several alternative theories on Reeves' death, different possibilities that are meant to mirror Simo's changing perception of Reeves. It's a lot of juggling for a two-hour movie and Coulter has difficulty sustaining any kind of cumulative momentum. "Hollywoodland" works great in short bursts, but can't hold together.

The individual scenes are able to breathe thanks to the fantastic cast. Despite a distracting make-up job that makes him look a lot like Paul Rudd, Affleck turns in a sympathetic performance, that can't help but be read as vaguely autobiographical. He's a man who wants respect and opportunities, but instead finds wealth and fame and dead-ends. Affleck's open-mouthed vulnerability -- largely AWOL since "Good Will Hunting" -- makes a welcome return. Affleck also works well with Lane, who makes one of those courageous-for-Hollywood choices to play her age and possibility older. Lane's Toni is used to getting what she wants, so when Reeves tries to slip away, she goes to naturalistic pieces.

Hoskins looks to be playing a scenery-chewing bigwig, but the actual love this man feels for his wife gives the character depth in this fine actor's hands. Because nobody else is likely to mention them, I feel inclined to salute two of my favorite under-appreciated TV actresses -- Caroline Dhavernas ("Wonderfalls") and Kathleen Robertson ("Beverly Hills, 90210"), who look great and display charisma suggesting they should both get more big-screen work.

"Hollywoodland" may not necessarily stand out on its own, but it has sufficient depth and texture that it could make a great double-bill with Brian DePalma's "Black Dahlia," which opens a week later. The two films, set a decade apart, are complementary portraits of the movie business and its ability to devour the innocent.