A Claymation sequence during the end credits reveals the point of this movie when it shows a figurine that resembles Cameron Diaz traveling to the country screenwriter John Hodge happens to be from. Diaz and Ewan McGregor might as well have been represented by clay figures throughout this pathetically hip story in which the gun-toting Diaz is bored, wealthy, and irresistible—her appeal confirmed periodically when male characters discuss it, as if their behavior toward her isn’t enough. Fired from the company owned by her father (Ian Holm), McGregor goes to Holm’s office to protest; Diaz happens to be there looking for something to do and encourages him to kidnap her. Holly Hunter and Delroy Lindo are angels sent to earth to get the two kids together; if they fail they can’t return to heaven. Inexplicably, they contract with Holm to retrieve Diaz and the ransom and to kill McGregor, then they complain when this plan doesn’t seem to be facilitating a love connection. All this is accompanied by a too-emphatic pop sound track that turns almost every scene into a bad music video. Hodge and director Danny Boyle previously collaborated on Trainspotting.