2000, 2 hrs 2 min., Rated PG-13 for some sexuality and language.�Dir: Edward Norton. Cast: Edward Norton (Brian), Ben Stiller (Jake), Jenna Elfman (Anna Riley), Anne Bancroft (Ruth), Eli Wallach (Rabbi Lewis), Ron Rifkin (Larry Friedman), Milos Forman (Father Havel), Holland Taylor (Bonnie Rose), Lisa Edelstein (Ali Decker), Ken Leung (Don), Rena Sofer (Rachel Rose), Brian George (Bartender).

Okay, okay, okay, stop me if you've heard this one before. A priest, a rabbi and a blonde make a movie... I'm sorry, that was too easy. I apologize for not being original. But, despite the easy jokes to make about the plot, this movie is very charming, funny and a pleasant outreach from Edward Norton.

I had a great time watching this movie. Luckily, the slapstick that had me rolling my eyes during the trailer is out of the way in the first ten minutes, and I could enjoy the banter of the starring trio and a solid supporting cast.

Norton's talents know no bounds, from his debut role that put Richard Gere to shame in Primal Fear to the white supremacist in American History X and as a priest, starring in and directing Keeping the Faith, he is now a verifiable Hollywood player. Heck, Norton even shows off some great impressions, notably Andy Kauffman's Latka and Dustin Hoffman's Rain Man.

Jenna Elfman is a darling. I love her more and more in every movie she makes, much more than her Dharma character on ABC. Even in the little things she presents herself as a shining star on screen. In KTF her character is a great contrast to potential Stiller mate Rachel Rose, a reporter for ABC, who is too mature for her age. Even in just the makeup you can tell whom the audience is supposed to support; Rose wears too much, not to mention how dark it is, while Elfman's makeup is very light and uses as little as possible so that you can't tell she wears it at all (I love that!)

Ben Stiller has always been a hoot, so it was expected that he would be great as a rabbi. But Stiller also shows potential in serious scenes with stark emotional contrasts to the comedy in which we're used to him.

Almost a fourth main character, Norton and the cinematographer have a love affair with New York City that almost puts Nora Ephron's efforts to shame. There are some truly gorgeous scenic views of the city, especially of Manhattan and the surrounding harbor.

The supporting cast does no wrong, and how can you with names in the credits such as Anne Bancroft, Eli Wallach, Ron Rifkin, Holland Taylor and Milos Forman? Even unnecessary moments become classics, such as Don (Ken Leung) singing 80s ballad "Jesse's Girl" in an audio rental store. It doesn't matter to the plot, but its so much fun why leave it on the cutting floor? Scenes as this one, or the paperboy falling on slippery ice in Sandra Bullock's While You Were Sleeping are priceless.

When it comes to the actual theology of the movie I am both amused and worried. The interaction of Norton and Stiller's characters, how they learn from one another's religions and accept their beliefs, I found interesting since in today's society so much of what we believe is molded by others and the melting pot is becoming more and more integrated.

However, the relative ease and guilt-free manner in which Stiller engages in a sexual relationship in which he has no plans of marriage is the Hollywood-ization of our world. As Roger Ebert puts it: " It shares the universal Hollywood presumption that love should conquer all--that gratification of immediate emotional needs is more important than ancient values." (By the way, no spoiler warning here. This is on the trailer)

I'm not familiar with all aspects of Jewish teachings, but I imagine that a rabbi, like a priest or preacher, would be crushed by guilt over such actions. However, Stiller's character cares more that Elfman isn't Jewish and what his congregation thinks, not that he's unmarried yet very sexually active.

Norton's character does go through this emotional swing, so I know that the writer, the Jewish Stuart Blumberg, understands theology to a point. I only wish he would be consistent. Just because Stiller and Norton are pop-culture stand-up comedians in the pulpit, giving an "Old World God a new twist" to bring in more people into their flocks, does not mean that religious doctrine can be tossed out on a writer's whim.

That being said, the trio of Norton, Stiller and Elfman are so loveable that Keeping the Faith is a must-see for anyone capable of being charmed by lines such as "God was showing off when he made you." You can come with your religious views, but keep them in check for two hours with the realization that this is a Hollywood picture, not one produced by the lady with pink hair on the Trinity Broadcasting Network.