Depiction of psychological cruelty on screen reaches a new low in The Shape of Things, Neil LaBute’s mean-spirited comedy about love and art. While admiring this filmmaker’s edgy touch in Nurse Betty and in In the Company of Men, I found his latest effort unconvincing and dull – two adjectives I never expected to use in connection with any movie from LaBute, who usually lives up to his reputation as "film’s shock jock." With the exception of Possession, his previous movies ignore what's politically correct in order to explore gender relations with depth and uncompromising honesty.

Consider In the Company of Men. It follows the adventures of two misogynist business executives who try to humiliate a deaf secretary. Definitely not a "feel good movie," but watching the evil Chad (as played by Aaron Eckhart, he’s at the top of my "scariest film villains" list) serves as a dramatic lesson for men about how NOT to treat women. The characters and situations seem real, so viewers can relate to this flick no matter how tense it gets.

In The Shape of Things, LaBute veers away from reality to create a fantasy-like story involving an art student (Rachel Weisz) and the nondescript young man (Paul Rudd) she tries to change into a handsome hunk (think Pygmalion in reverse). Yes, LaBute used fantasy before (in Nurse Betty) but the main character in that film is going through a schizophrenic experience. With The Shape of Things, LaBute includes an impossible plot gimmick (one I can’t reveal without spoiling the movie for you) – and expects viewers to buy it.

Nevertheless, I have no complaints about the cast. Both Rudd (The Object of My Affection) and Weisz (The Mummy) deliver excellent performances in extremely "talky" roles. They’ve had lots of time to learn their parts, having appeared in LaBute’s play upon which his movie is based. Rudd’s character (whose boyish charm appealed to me even at the beginning of the film) changes slowly scene by scene. He loses weight, gets a different haircut, and even indulges in minor plastic surgery. The film’s best sequence shows Rudd being pleasantly surprised at the attention he finally receives from his friend's fiancée (Gretchen Mol of The 13th Floor), a young woman he once had feelings for. Weisz infuses the fanatic artist she plays with a weird combination of arrogance, rebellion, and mystery. Still, as competent as she is, I couldn’t believe her ridiculous closing speech about art and morality.

The Shape of Things comes across more like a filmed play than a movie. LaBute admits he refused to "open it up" much for the screen version. Perhaps he made the right decision. Why waste time embellishing an artificial tale such as this one?

(Released by Focus Features and rated "R’ for language and some sexuality.)