From the writers of the bubblegum comedy 'Legally Blonde' comes 'The House Bunny', a poorly scripted, painfully unfunny and moronic attempt at a film. Essentially an Anna Faris vehicle, all it demands of her is to coo, jiggle and teeter her way through the hour-and-a-half duration.

Watch Ryan Tubridy's interview with Anna Faris.

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The predictable plot follows Shelley Darlingson (Faris), an orphan who found happiness with Hugh Hefner and his ladies in the Playboy Mansion. But all of a sudden she is booted out of the fluffy pink cocoon of the house and onto the streets. So she finds the next best thing to chez Playboy - a sorority house. Shown the door by bitchy, snooty young madams at one house, she then stumbles upon the ramshackle Zeta home, where a ragtag bunch of misfits reside.

They have just been informed that if they don't get 30 pledges this semester, they are going to lose their sorority home. But who would want to give their allegiance to such a group of no-hopers? All the cookie-cutter clichéd characters are here - the cynical feminist, the kooky nerd girl, the hippie girl.

Shelley comes to their rescue and becomes their unlikely house mother. First item on the agenda to save the sorority? Why a near-nude car wash of course! Next in line is the obligatory makeover scene where the girls are given an overhaul and come out looking much worse for it.

But their newfound 'hotness' hits all the right buttons for their peers and soon the girls have forgotten their outcast roots and are the popular girls they once despised. Will they save their home? Will they realise the ills of their ways? Blah blah.

Watch an Anna Faris interview in Windows, Real or Quicktime.

Of course there has to be a romantic storyline in there somewhere, and here Shelley falls for the sweet charms of Oliver (Hanks), an all-round good guy who runs a nursing home. Given that there is no development of their relationship, it is just another element of the plot where we don't care what the outcome is.

All this might be bearable if the script was even remotely funny, but most attempts at humour fall awkwardly flat and the ratio of approximately two laughs to 97 minutes just isn't enough to justify your cinema admission.

Faris does her best with the lines she has to deliver, and is a somewhat sweet in her wide-eyed naivety. However, as brightly cheerful as she is, she cannot save the film from being the atrocious, senseless piece of fluff that it is.

Sarah McIntyre