It's a fact of life that ingrained into a mother's protective nature is the belief that she has the rightful duty to meddle into her daughter's business. Although well-meaning and rooted in love, often times such officious interference crosses the line into acrimony.

As you may have guessed the film's premise revolves around a meddlesome mother - Daphne Wilder, a cake designer played by Diane Keaton and her three daughters: Oldest, Maggie (Lauren Graham of TV's Gilmore Girls), is a married psychologist and the voice of reason and eye of the hurricane that is her mother and her overbearing, officious nature. Middle daughter Mae is also married (Piper Perabo) and is on screen strictly for the sole purpose of appearing in a thong and introducing risqué sex talk among her sisters and mother (no way are these outrageous conversations believable).

The youngest Milly (a refreshingly healthy looking, as in not skinny, Mandy Moore) however, has yet to marry a nice professional man. She is successful, has her own catering business, but is insecure. Why? Because her backseat-driving mom, who is about to turn sixty - still man-less since her husband left her years ago to raise the girls by herself. Naturally Mom lets it be known that she is afraid Milly might be following in her footsteps and wind up a lonely spinstress.

I've always been a big admirer of Diane Keaton, occasionally she turns up in a poorly chosen project (this lackluster effort, being a good example) but on balance she's had a solid and varied career. Still, does the Academy Award winning actress need a paycheck so badly that she had to stoop this low? Keaton is surrounded by a very attractive, talented supporting cast, wasted in this train wreck of a film that is strewn with so many embarrassing, absurd moments, that I nearly gagged. How many cake in the face scenes do we need in one movie, if at all? What also annoys me is when a good premise falls into the rut of cheap shots and tired, overused plot devices. For example take the tried and true "apple doesn't fall far from the tree" scene where we are shown Daphne making dinner as Milly is doing the same; Daphne drinking wine, ditto for Milly, as well as them both rearranging furniture. Gee, you think these two are alike? Then it follows that Daphne must know what's right for her daughter.

Daphne sees Milly like "psychotic flypaper when it comes to the opposite sex. The men she dates are either gay, married, unavailable, or out of their mind." So instead of Milly making the same mistakes she did, Daphne decides to place a personal ad in the "We Match For You" on line website seeking a "life partner for daughter," as in the perfect mate.

After Daphne appears in a discouraging montage of face-to-face interviews with a slew of outrageously stereotyped losers and weirdos (like we haven't seen that before) that answered the ad, up pops Jason (Tom Everett Scott), a tall young architect who seems like a dream come true. Meanwhile, on the sidelines witnessing this scenario, is Johnny (Gabriel Macht) a handsome lounge musician and divorced father whose interest in meeting Milly is sparked by watching her attractive mother in action. Daphne arranges for Milly to cater Jason's upcoming event and a relationship is born. But unknowing to Daphne, and against her wishes, Johnny sets out to woo Milly on his own. Now, Milly has not one but two great men in her life, both of whom she is sleeping with.

Daphne can't stand that her daughter is seeing both men and thinks the charming and irresistible musician has heartbreaker written all over him and is no match for the more responsible, well to do architect. What ensues is pretty much predictable and formulaic with a heavy dose of clumsy and outlandish dialogue. There are fights, a breakup, misunderstandings, reconciliation – you know the routine.

In a thankless role, Stephen Collins is Johnny's father, Joe, who locked out of his apartment, instantly becomes Daphne's love interest after dropping by Milly's house where Daphne is staying. Before you know it these adults are making out on the sofa like horny teenagers only to be busted as Milly and Johnny walk in on their misbehavior. Johnny's toddler son constantly spews out "vagina" (how unlikely is that?) whenever he sees a woman, and incessantly breaks and tosses things. His presence is a plot contrivance that enables Daphne to disapprove of Millie's relationship with the flakey musician.

Most of the characters are terribly underdeveloped and even throwaways. Maggie has a suicidal client, the stereotypical (overused) neurotic Jewish male, there only to provide a stupid, unfunny sight gag to come full circle. Keaton's airheaded ditz persona has always been charming but is all but lost in her shrill fast talking obnoxious behavior that I chose to turn-off and found myself far more interested in her cool retro looking wardrobe.

It is hard to believe two women Karen Leigh Hopkins and Jessie Nelson wrote the ill-conceived script, nor that the guy at the helm of the edgy, well constructed Heathers, Michael Lehmann is the director. Lehmann doesn't appear to have a handle on the characters or the action. As a comedy, BISSO is more vulgar than funny and an insult to successful, independent women. This is the 21st century where a woman does not have to feel incomplete without a man, nor so strung out that she is in need of a good "stiff one" to make everything better.

This film was supposed to explore the boundaries of motherly love and hopefully be insightful but it fails from every angle, disparagingly. Nothing works and I was very disappointed. That's the truth, and not just "Because I Said So!"

We want to welcome a new writer to our stable - Las Vegas mover and shaker, and founder of the influential website http://theflickchicks.com/ Judy Thorburn. No one has her finger more smack dab in the center of Las Vegas entertainment scene than Judy and she's been a great friend of zboneman for several years. We're excited to have her on board.