If It’s a Wonderful Life were to be made today, I’d wager on some obvious updates. The guardian angel would be a hot supermodel instead of an aging bumpkin. The hero would be running from a well-deserved mob hit rather than humble regrets. The duo would seek self-indulgence over reverence. Angel-A goes that route and provides some eye candy to boot. Insecure con-man Andre mulls over the grim choice of getting whacked or jumping off a bridge when his attention is drawn to a drowning beautiful woman. He rescues her (who wouldn’t?) and gains a dutiful tag-along who helps him face his sticky predicaments. Though it’s a bit troubling that her version of help is punching out gangsters and possibly whoring herself for cash. Things start to make relative sense to Andre when the schlub-loving temptress reveals her heavenly mission. In other words, not a whole lot. The characters and conflicts are more than a little too iconic, making the story as predictable as it is hokey. Director Luc Besson makes up for it somewhat with delicious views of Paris and actress Rie Rasmussen. He trades the hyperactive action, actors and palette from The Fifth Element for a concentrated cast, a leisurely pace and a lush film noir treatment. The result would have held more weight somewhere between the two extremes.

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