It is hard not to think that the intentionally self-absorbed "Adaptation" is meant as an inside joke against critics who might attempt to describe its frenetic depiction of writer's block. And that is exactly the lure and eventual flaw with the film; it is too much gimmick oriented. Still, totally original in every sense, one would expect nothing less of the writer/ director team of Charlie Kaufman and Spike Jonze, the duo behind "Being John Malkovich." "Adaptation" is a conscious manipulation and appropriation of the screenwriting process. Charlie Kaufman (Nicholas Cage) is writing a screenplay, an adaptation of the book "The Orchid Thief" by New Yorker writer Susan Orleans (Meryl Streep). Orleans' story is about eccentric Florida botanist John Laroche (Chris Cooper of "The Patriot") and his caper to steal the rare White Ghost Orchid with a band of Seminole Indians from the Fakahatchee swamp.

But, that's not all. In the process of adapting Orleans' work, Kaufman becomes hopelessly frustrated and inserts himself into his own screenplay, adapting the novel. Did I mention this is a movie written by Charlie Kaufman? Along the way there is a real adaptation of Laroche's story playing out in counterpoint to Kaufman's dilemma writing it. Along the way, Kaufman must deal with his naave twin brother, Donald (played by Cage as well), who is also writing a ludicrous screenplay entitled "The 3." He also makes attempts to meet the real Susan Orleans and dodge his agent (a hilarious Ron Livingston of television's "Sex and the City") and producer (Tilda Swinton of "Vanilla Sky"). Director Curtis Hanson even puts in a smile-inducing cameo as Orleans' oblivious husband that almost makes up for the disappointment that was "8 Mile."

While overtly blank, Kaufman's dialogue goes beyond witty in its self-evidence. Cage nervously exclaims the first line of the film, "I have absolutely nothing to say" and proceeds with the picture. In one scene, a frustrated Charlie gives writing advice to brother Donald, suggesting that the killer in his screenplay be named "the deconstruter" who chops off small pieces from his victims. Dim-witted Donald loves the idea.

The emotional center of "Adaptation" becomes this exact relationship between Kaufman and his fictional (in real life at least) twin, Donald. In fact, Jonze has appropriated the Turtles hit "Happy Together" to signify the emotional connection of the two on screen.

"Adaptation," literally, begins where "Being John Malkovich" left off. A trademark Jonze cinema moment occurs when shy Charlie Kaufman, on the set of "Being John Malkovich," unsuccessfully attempts to mingle with the cast. Indeed, other than their self-consciously absurd premises, Kaufman and Jonze have as odd a relationship as Charlie and Donald. While "Being John Malkovich" was entirely dark, "Adaptation" is bathed in daylight, reflecting a newfound tenderness for all facets of life. Also, "Being John Malkovich" had a unity of style, vision and tone, which "Adaptation" sorely lacks.

Such self-fulfilling irony and appropriation of structure becomes obvious in a scene where Kaufman, embarrassed, approaches screenwriting guru Robert McKee (a flashy Brian Cox of "The Reckoning"), and the two have a drink. Kaufman explains his dilemma, and McKee leaves him with some simple advice, warning him that no matter what "avoid the deus ex machina." And, of course, at that exact moment, the hurtling, frustrating, self-evident deus ex machina of a third act begins.

Despite its emotional and structural complexities, "Adaptation" falls inevitably flat in the fact that the film is so self-evident. Kaufman sinks into a subtle cleverness and voices criticism into the movie rather than portraying an artistic resolution to his existential problem. He seems intent on fulfilling the analytical post-modern scheme inherent in the film's premise, but he is too obsessed with the reality of his characters to let the film become distant enough emotionally.