AND SO IT GOES Pictured: Michael Douglas, Diane Keaton, crap.

THE TITLE of Rob Reiner's And So It Goes may as well be Whatever. It's a lazy victory lap from a director who doesn't When Harry Met Sally like he used to and an actress whose last great role was in 1977 (and ask yourself how much the brilliant menswear-inspired wardrobe is responsible for why you really love Diane Keaton in Annie Hall). The star of the show, however, is Michael Douglas, who manages to be endearing despite the lemon of a script. (Relevant: Douglas has done amazing work as recently as last year's Behind the Candelabra.)

It seems like a waste of time to explain, but Douglas plays Oren, an impossibly crotchety real estate mogul who callously mistreats pregnant women, dogs, and his own adorable granddaughter—whom he doesn't know exists until his estranged son shows up with her the night before beginning a prison sentence. Then Oren's lounge singer neighbor Leah (Keaton) steps in and romance staggers forth. Through a series of situations whose seams are clearly showing (including a naïvely cruel scene involving the girl's addict mother), Oren's character becomes increasingly inconsistent, which is meant to be "transformation."

But damn if Douglas isn't charming, even waist-deep in crap.