It seems as if it was a different time-space continuum in which Cuba Gooding Jr. was a "good" actor, especially after seeing the overacted performance he makes in the newest MTV studios flick "The Fighting Temptations." Cuba's downward spiral of a career that includes such gauche comedies as "Snow Dogs" and "Rat Race." But the movie is not all lost with another disappointing performance. In fact, there are several memorable roles filled by songstress Beyonce Knowles ("Austin Powers: Goldmember") and a somewhat breakout performance by Faith Evans that plays at the southern heartstrings of the movie's origin, and makes the film shine. The powerful music that carries this old southern paradigm through another round of Hollywood woe is simply inspirational. Gooding plays hot-shot New York advertising executive Darren Hill who has just been fired from his job for lying about his Yale Degree. He runs back to his hometown as an attempt to escape hungry debtors and attends his long-lost aunt's funeral, a plot reminiscent of "Sister Act," Gooding attends his long lost Aunt's Funeral. Much like in Pryor's "Brewster's Millions," Gooding receives an enormous inheritence of $150,000 on seemingly simple caveat, bringing the hometown's church to Gospel Choir stardom. And as it turns out, the Gospel choir, a paltry group of five, gives the movie what I like to call "bad movie ambrosia."

The screenplay attempts to throw drama in after this point, as Darrin sees club singer Lilly (Knowles) perform a scorching version of "Fever," wherafter Darrin attempts to bring her in as lead vocalist of his mockable choir, and also into his bed. But church busybody Paullina (LaTanya Richardson of "When a Man Loves a Woman") will have none of this and refuses to allow an unwed mother (Lilly) into the choir. This is especially infuriating to Darrin, as prior to this, portrayed in a flashback, Paullina drives his mother (Song bird Faith Evans of "Wild Wild West") out of town for singing "that R&B sex music." This all would bring in a tempting chemistry between Gooding and Knowles' characters if not for the flop that comes with Gooding's lack of romantic ability. The man has thousands of strange facial tics that pop up in the oddest of moments- kissing Knowles, attempting to cry for the camera, he is a joke of his former "Jerry McGuire" brilliance.

The order of events is easy to guess from here, but simple admiration for the movie's musical power draws in the audience's anticipation of the next musical moment. Highlights include the O'Jays, a vocal trio who play the barbershop regulars, performing an a cappella version of "Loves Me Like a Rock" using scissors and an electric trimmer for percussion. T-Bone, Zane and Montell Jordan, play a hilarious trio of abrasive prisoners, contributing a hip-hop take on "Down by the Riverside."

Other gospel singers in the cast are Melba Moore and Rev. Shirley Ceasar, both of whom give awesome solo introductions near the beginning of the movie.

However, once a viewer looks past the amazing musical talent of the cast and toward the poorly directed Gooding, one cannot help the idea that perhaps director Jonathan Lynn ("My Cousin Vinny") could not keep a handle on the overly hysteric actor. In many scenes of the movie, Gooding jumps around a choir stage uselessly; flipping, dancing, and generally making a nuisance of himself.

Also, Gooding's many lines where he lies to several important characters do bring a matter of distrust to his image - especially in the cheery way that Gooding delivers what should be deeply moving emotion. Nevertheless, some of the other cast members do manage to deliver a semblance of a comedy. Mike Epps (of "Next Friday"), playing a member of the choir, was an integral bit of the comedic set up, especially when he tries to assure Gooding that he is the resident "bootyoligist" of the town. Stand-up comedian talent Steve Harvey ("Kings of Comedy") also holds down a hilarious role of a local, and often drunk, disc jockey at the local radio station.

But these slim pickings, after the wreckage of Gooding's ability doesn't complete a funny movie. The viewer can't help but wonder what happened to Gooding's funny days: "Jerry McGuire" instantly comes to mind and even his hilarious role as a gay reactionary in "As Good As It Gets."

In summary, the movie isn't impressive, far from a comedy and is nothing of a drama. Yet seen only as an extended music video, Knowles pulls through, leading some of today's best gospel-like artists into musical greatness. The audience fell in love with some of the strong gospel undercurrents of the film, and fell into clapping fits whenever the in-film song scenes were completed. I also found myself clapping at several of the production's strong soul and heartfelt numbers near the end. Music carries the film past some of the more recent Hollywood attempts at musicals, but music is, unfortunately, not able to save this clunker of a film.

Lynn's greatest would-be accomplishment would be to get Gooding to sit still. Hyperactivity, along with picking scripts like "Snow Dogs" and "Boat Trip," has diminished the Oscar-winner to an embarrassing level. Gooding has made hysteria his routine, and Lynne has done anything but administer an overnight cure. Gooding still must relax those facial tics. Yet Lynne had the opportunity to steer the actor back toward the days of "Boyz N the Hood" if he could just get the burned-out act to finally get over himself.