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As a psychological thriller, or a horror film, "Hide and Seek" doesn't break new ground. In fact, once it's over, the viewer feels somehow manipulated by what we have just witnessed. There are, supposedly, four different alternative endings for the movie, but unfortunately, the one being shown, doesn't add anything to what we have already seen.

Although the film has some interesting moments, director John Polson has gone for the Grand Guignol effect. Ari Schlosberg's screen play gives us hints about what to expect, yet, when we realize the mystery at the center of the story, we keep scratching our heads.

Suffice it to say, this film doesn't add anything to Robert DeNiro's brilliant career. Mr. DeNiro's last choices in films puzzle us, as well as his fans because we know he is capable of doing much better. Yet, as shown with this film and "Meet the Parents", and its sequel, "Meet the Fockers", "Analize This", and "Analize That", the actor keeps us wondering about his choices.

Dakota Fanning is a young actress who shows an uncanny sense of how to upstage Mr. DeNiro in most of their scenes together. As Emily, in this film, this girl shows an enormous range in what she is capable of doing. One can see Ms. Fanning growing to be another Jody Foster in later years.

The rest of the cast is completely underused. Amy Irving is only seen in flashbacks, which is a shame since she is a valuable actress. Famke Janssen has a few key scenes. The same goes for Melissa Leo, Elisabeth Shue and Robert John Burke.

The only consolation was it was shown on cable and we felt lucky not having spent the price of admission.

The set up is kind of fun, then the center of the film gets a little boring, then secrets are revealed and you realize you've been lobotomized by stupidity. Elizabeth Shue's cleavage is the best supporting character in this otherwise teeth grindingly dumb movie.

The movie is about as light an R as you can get. It tiptoed past the PG-13 with a little bit of blood, but I have to wonder if they wanted the PG-13 and were surprised by this rating.

Here's a question: what is the tipping point in DeNiro's career that took his from greatness to these crap dwellings? Even Angel Heart is a masterpiece compared to most of the schlock we've been getting from Bobby during the last DeCade. To the real Robert De Niro: Come out come out wherever you are!

Maybe Robert De Niro's doctor in Godsend (2004) went to the same medical school of horrors as his Dr. David Callaway in Hide and Seek, this year's De Niro toss away film, from which he deposits his considerable paycheck along with cash from Meet the Fockers. Why he doesn't concentrate his fortune and connections (as Clint Eastwood does) to craft an artful small film that would allow his acting gifts is the only mystery for me from his prolific but arguably spotty career.

Young Emily Callaway (Dakota Fanning) has lost her mother (Amy Irving) to suicide. Psychologist dad moves her to an older, rambling house in the woods in upstate New York to start a new life. Not new are the abundant clichés of the horror film: the suspicious neighbors, whom director John Polson makes as creepy as possible; the questionable sheriff; the doors leading to scares; the mutilated dolls; Emily's imaginary friend, Charlie, who appears to be causing numberless offenses in the house; and knives placed as objects of intrinsic interest; and a vulnerable girl friend, Elizabeth (Elisabeth Shue). I stopped counting, for the film is one extended cliché after another.

The interest for serious filmgoers might be the depiction of the psychological stat after a loss to suicide. Whatever the term might be such as "post-traumatic stress disorder syndrome," the film does a credible job showing how difficult it is for Emily to lead a normal life after the loss of her mother (and for her father as well). While there are echoes of Stephen King (The Shining's "Here's Johnny" comes to mind) and Hitchcock (think shower scene), there is no comparison in quality with those classics. The audience at the preview enjoyed some of the stock shock moments behind the many closed doors. Hide and Seek will titillate horror fans but disappoint discerning film buffs, who look for some believable edge and innovation.

Milton in Paradise Lost expressed the descent from happiness to despair: "Farewell happy fields, Where joy forever dwells: hail, horrors!" Hide and Seek is not a classic horror film; it is a classic underachiever.

I'm not the greatest figurer out of plot twists, and I didn't figure this one out. If you did, then I can see that there would have been an air of disappointment over that aspect of the film. I didn't so, plot-wise, I had no problem with enjoying the movie.

I thought the ending was fine.

And, as usual, I thought Dakota Fanning was quite remarkable, holding the screen with an assurance well beyond her years (although I find her manner in the "Making of.." documentaries worryingly un-childlike).

I did have some other problems, though.

De Niro's character must have been the worst psychologist in the world, given his complete inability to apply any of his knowledge to dealing with his daughter's problem in any constructive way (and, yes, I know "That's because blah blah blah", but it's still a distraction when you're sitting there watching him to fail utterly to exercise a shred of competence.

I failed to understand some of the child's motivation for her actions and attitudes vis-a-vis Charlie and Dad, especially given the nature of the twist.

Elisabeth Shue and Famke Janssen - nice to see them, even if only briefly.

And De Niro - not your finest hour, Bob. Carry on like this, and Norton and Depp will be fighting over the "Greatest Living Screen Actor" crown, while you watch from the wings.

My score of 7 is a point or two higher than it would otherwise have been, solely on the strength of Dakota Fanning's performance.

All these professional film critics. Oye. Gimme a break. Although they may make intellectual sense sometimes losing the point of a movie as escapism misses the enjoyment that could be... why so much dissection. Of course it's no Witness for the Prosecution or The Shining. But it's edge-of-seat creepy and it twists right to the end. Predictable maybe. But it's still engrossing. I'm not an idiot I love 12 Angry Men for a script and a brilliance in acting that runs circles around something like this. Or something like Fatal Attraction I know great from good from good to mediocre. This barely makes it to the last except it's worth the ride. Why analize a roller coaster if it 'works'. This is no masterpiece but it works. Enjoy the creeps!