Software publishers throw around the term "convergence," pointing to videogames' increasing similarity to Hollywood movies. But few deliver a flair for cinematography so obviously movie inspired as crime thriller Kane & Lynch, which ratchets up the grit and graphic violence in hopes of piquing audiences' attention. The game apes elements of silver screen ardor including shocking prison breaks, death-defying bank jobs and bullet-spraying shootouts.

The story opens with a literal bang, as guilt-wracked mercenary Kane is rescued by schizophrenic psychopath Lynch at the behest of underworld organization The7. Believing Kane ripped them off, the cohort sends him to recover their stolen property under threat of slaying the man's wife and daughter. Subsequent plot twists lead into a series of squad-based battles, as you order associates to lay down covering fire while confronting onrushing SWAT teams or personally protect safecracking allies from assault. Dispensing with typical design gaffes like on-screen health indicators, the game quickly scores points with its novel health mechanic: Upon falling, allies can resurrect you with adrenaline shots if they reach you in time.

But daft computer-controlled associates respond poorly to simple user-issued commands; the involuntary cover system (which reflexively snaps you into place behind nearby pillars or walls) proves to be more cumbersome than intuitive; and automatic gunfire is incredibly imprecise. Characters also lack a sense of weight or depth, feeling like limp mannequins inserted atop static 3D backgrounds, and slugs hit home with all the oomph of a feather's passing touch. Co-op and eight-man multiplayer modes do add options for tag-team efforts or impromptu betrayals. Unfortunately, lackluster ambiance and an overall sense of disconnection to the routine run-and-gun proceedings ensures a less than explosive time. You'll find more engaging (and cost-effective) fare at the local video outlet.