What Men Want

Solving the mystery suggested by its title is hardly the goal of What Men Want, which doesn’t provide any fresh perspective on female empowerment or any meaningful insight into contemporary workplace politics.

Even if the world never asked for a gender-swapped remake of a silly Mel Gibson romantic comedy almost two decades after the fact, this update manages some solid laughs — thanks mostly to a charismatic lead performance by Taraji P. Henson — before coming apart in a messy final act.

Henson plays Ali, a sports agent who’s constantly bumping up against the glass ceiling in a male-dominated profession.

Her ruthless style has proven effective among her chauvinist colleagues. But she’s also earned a reputation for not relating well to men, which might be the ultimate reason she keeps getting passed up for promotions. However, she does flirt clumsily with a widowed bartender (Aldis Hodge), who reciprocates the romantic interest.

After a night out with friends, Ali drinks some “tea” from an eccentric pot-dealing psychic (Erykah Badu) and subsequently hits her head. That combination allows her to hear men’s inner thoughts. She uses that skill for personal and professional gain, just as her firm is desperately trying to land a superstar NBA prospect (Shane Paul McGhie) with an especially obnoxious and overbearing father (Tracy Morgan).

In a rare comedic role, Henson (Hidden Figures) demonstrates her range with a committed portrayal that makes Ali’s foibles as endearing as her ferocity, while generating sympathy for a character whose emotional wounds are often self-inflicted. In other words, we’re set up for comeuppances all around.

Sports aficionados should enjoy the lengthy lineup of cameos from the likes of Karl-Anthony Towns, Shaquille O’Neal, Mark Cuban, Grant Hill, Devonta Freeman, and Adam Silver.

Unfortunately, the screenplay lacks invention and inspiration in its plot mechanics, winding up as shallow and superficial as the male inner monologues it seeks to lampoon, and using the central gimmick only to generate the broadest of laughs.

As it awkwardly transitions from raunchy to sappy — the downfall starts with an especially painful wedding sequence — the film ties up all of its dramatic loose ends in the most predictable way possible.

That’s a shame considering that the film, directed by Adam Shankman (Hairspray), scores with a steady array of zingers for the first three quarters or so. Turns out it should have quit while it was ahead.

Rated R, 117 minutes.