Given the kaleidoscopic venn diagram of contexts in which Bruno can and will inevitably be viewed, it's tough to know precisely where to start, and how far to go when deconstructing Sacha Baron Cohen's new comedy. Like the singular, groundbreaking Borat, it's a balls-out comedy, but it's also a social commentary; it's both the latest movie Cohen appears in, and the big-deal "next effort" from him as a performance artist and lead rather than costar or day-player; and finally, it's a lightning rod for controversy and also a generally innocuous goof on mainstream expectations of him and his character, a flamboyant homosexual. All of which suggests that the film is, or perhaps would necessarily be, richer and more substantive than its predecessor - the sort of galvanizing experience that leaves audiences buzzing, changes minds and perceptions, and transforms the face of entertainment forever.

And yet, Bruno is curiously ineffective, a sort of middling effort that fails to liberate itself from the stereotypes that provide the character's foundations, even if it also doesn't deliberately or harmfully reinforce them.