Whether they were inspired by the similarly titled Kanye West song or not, the title of this warm but silly caper comedy quite aptly fits the film’s rather obvious but chucklesome plot. Directed by Ian Edelman and starring Luis Guzman and Edgar Garcia as the titular Puerto Ricans, Luis and Eddie, the film starts with the pair as brothers-in-law and police partners working in the rather un-sexy field of handbag knockoffs. After a particularly clever undercover operation where they take down a Louis Vuitton fake manufacturer, they are handpicked by a popular French handbag designer, Colette (Alice Taglioni), and her business partner, to track down which of their colleagues has stolen one of Colette’s bags and may be intending to sell it to the knockoff market.

As per usual in these sorts of buddy comedies, one of the men is married, Eddie, and one is determinedly single, Luis. Eddie is married to Luis’s sister Gloria (Rosie Perez, and ridiculously underused) and can’t seem to get things right as he forgets their anniversary and then fails to deliver any sort of celebration to make up for it. Luis is (inexplicably) dating Vanessa (Rosario Dawson) who is getting antsy that he won’t pop the question and gives him an ultimatum when he lets slip that he may never want to marry.

When the offer to track down the stealer of the handbag in Paris comes along, not to mention a hefty reward offer, they decide taking the job may be their opportunity to make things right with their chicas. The usual sort of aloofness ensues, as two hard-nosed NYPD Puerto Ricans could never be expected to know how to behave in a chic a place as Paris *sigh*. Some deserved laughs arrive in the form of Eddie’s willingness to learn and experience the Parisian life. Luis is more determined to track down the thief, get his money, and go. Luis, usually the ladies man (aren’t all middle-aged Puerto Rican men?) is confused to find Eddie and his mild Dad-like empathetic married-man qualities seem to win over the Parisian ladies more than Luis’s attempts.

The two interview a few women close to Colette, dressing up in silly costumes and making up ridiculous cover stories in order to win trust. At one point they have a lead, and then it becomes obvious they don’t. They butt heads with the Paris police. They generally bumble about. It’s all rather predictable. Strangely the writers, Ian Edelman and Neel Shah, decided that the wrench in Luis and Eddie’s relationship would be around Luis’s misconception that Eddie and Colette are spending a little too much time together. As if anything in Eddie’s already established personality makes him appear like an adulterer?

The end result is a weak plot and silly concept utilizing two genuinely talented hispanic actors who just can’t quite make up for it all. The entire thing reeks of formulation and rather generic comedy. While Luis Guzman should probably have been given a headlining platform long ago, and as much as we love Guzman and Garcia in Edelman’s How to Make it In America, the content here is far too weak for the talent involved. Garcia, a relatively inexperienced actor, is surprisingly lovable here if somewhat flat in his delivery.

Considering the stated cultural identity of the film, it really doesn’t play off of this much at all. Only with the usual hispanic tropes. The fact that both Rosario Dawson and Rosie Perez were cast and then given all of maybe 15 minutes combined screen time, is just puzzling. It may just be Edelman hasn’t quite grasped the long-form of feature films, as the entire premise of Puerto Ricans in Paris would make for a great short sketch on television, but over the course of 80 minutes (short even for a comedy feature) the film is agreeable but not all that winsome.

Like the casual time-travel movie, which holds in it a wealth of practical and scientific implications, similarly do I find myself questioning the sense of the identity-swap film. Especially so when it’s a comedic identity-swap–though, come to think of it, I can’t think of a single dramatic identity-swap movie. Face/Off definitely doesn’t count. In the midst of absurdity, the comedy isn’t there unless someone questions what’s happening up to a believable amount. In Georgina Riedel’s Ana Maria in Novela Land, Ana Maria (Edy Ganem) an idealistic wayward millennial-sort obsessed with her favorite telenovela magically swaps places with the dramatic star of the show, Ariana Tomosa (also Ganem). Yearning for passion in her own life, this appears to be a dream come true for Ana Maria, but the (obvious) impracticability of living in a TV world eventually catches up to her. Filled with humorous potential, this farfetched situational comedy chokes on its own premise when none of the characters question the fantastical elements, making for a well-performed but never more than chuckle-some film.

Ana Maria starts her adventure by getting herself fired from her job when she overtly writes fan fiction during business hours. Her bombastic exit, complete with proclamation to co-workers that she “never washed her hands after using the bathroom” showcase her immaturity and her removed mental state from reality. She goes on to do almost everything else wrong with her day. Disappointing her mother (Elizabeth Peña in her last performance, which almost in itself makes the film worth watching) with news of her layoff. Disappointing her sister Ana Gloria (Mercedes Mason) by missing her bridal dress fitting. Disappointing her romantically inclined and good-looking neighbor Tony (Michael Steger) by blowing off his advances on her way home. Disappointing her best friend Laura (Carla Morrison) when she misses her music show to live-tweet Pasión sin Limites, her favorite show.

On-screen the show’s star, Ariana traverses her way through an impending marriage to a much older man consumed with being a father-figure, while she secretly cavorts (and maybe even falls in love) with his brooding and passionate son, Armando (also Steger). Meanwhile she’s being blackmailed by a sinister figure (Luis Guzmán). During the show’s climactic moment lightning strikes the house, the lights go out, and Ana Maria disappears. When she wakes, she’s in Ariana’s clothing, living her telenovela life. Ariana, on the other hand, has switched places, finding herself in the “real world” and in Ana Maria’s bed.

Thus begins the traditional hijinks that ensue from an identity-swap. Ana Maria thinks she must be dreaming and decides to enjoy her stint in the TV world, taking advantage of Armando and commenting on the lack of tongue he uses when kissing. Ariana, used to the dramatics of her world, first believes herself to be kidnapped and makes a getaway, and then later decides she must have amnesia, a common malady where she comes from. Ariana reacts the most believably—since she’s a TV character and we’re more open to her level of crazy—but even she makes no attempts to figure out where the people of her world went, how quick she is to forget her life and embrace what these strange people tell her. Ana Maria, however, takes quite a while to accept that she’s not dreaming, and then when she does she still isn’t acting quite as freaked out as we’d expect from a character based in reality. Though in her defense, she was never all that realistic a character to begin with. How much more playful could the film have been had anyone thought to play it a bit straighter?

Edy Ganem has energy for days in both her role as Ana Maria and as Ariana (no bangs, more make-up, so different!). She carries the film to a point, but ultimately isn’t given enough depth or allowed to go far enough with the jokes with each character to redeem the film entirely. Elizabeth Peña as her mother is her usual lovely and hilarious self. Watching her and knowing this is one of her last films is bittersweet. The film is shot with all the usual fluff and color of a female-led comedy, attention to outfits and make-up being key. It fits the subject-matter.

Those accustomed to the telenovela and its tropes will find the film endearing. Its charm carries it to a point. Those who see the set-up for some truly funny jokes will be disappointed that the film doesn’t even play into the expected comedy of an identity-swap film. Having previously directed How the Garcia Girls Spent Their Summer 10 years ago (also with Peña), it’s clear Riedel wants to convey the intricacies of the latino community, especially their family dynamics. And to be honest, having seen how well she expressed the intricacies of the female perspective in that film makes it all the more disappointing that she wouldn’t opt to make Ana Maria a slightly more fleshed out female in this one.

Those that would argue comedies follow no rules just don’t understand what triggers their own amusement. And those who attempt to make a comedy, better pay attention to the rules. Not to mention the precedents of other identity-swapping films in this case. Ana Maria in Novela Land is sweet, but ultimately doesn’t push itself to be clever with an overused gimmick. And in this modern world, this film adds to the piles of evidence that looks won’t get you anywhere without some wit to back it up.