Jonathan Demme's decision to remake Stanley Donen's hugely popular Hitchcockian romantic thriller Charade was always going to be fraught with risk. Who could replace Cary Grant and Audrey Hepburn? Mark Wahlberg and Thandie Newton step into some big shoes in The Truth About Charlie. Regina Lambert, Thandie Newton, is about to divorce her husband, Charlie, Stephen Dillane, after a very brief marriage, when he's murdered. To make matters worse, a trio of sinister characters evidently believe that Reggie has access to a large amount of money they think belongs to them. Reggie is completely in the dark, so thank goodness for Joshua, Mark Wahlberg, who obviously fancies her and wants to help. But can Joshua be trusted, or is he part of the plot? Actually, Thandie Newton almost succeeds in inhabiting the Hepburn role as the wide-eyed innocent in Paris; but Mark Wahlberg is no Cary Grant. Demme's intention, acknowledged by the film's final image - the tombstone of Francois Truffaut in a Paris cemetery - seems to have been to make a movie in the style of the French New Wave, Shoot The Pianist, which is excerpted, and Bande A Part seem to have been his inspiration, and both of the stars of those films, Charles Azanvour and Anna Karina, make delightful appearances here, as does key New Wave director Agnes Varda. But in-jokes like these, charming as they are, don't make a good film, and Demme has, sadly, succeeded in muddling the already complicated plot of Charade beyond the point of understanding. Tim Robbins, as the man from the American Embassy, does an amusing spin on both Walter Matthau and Orson Welles.Comments by Margaret Pomeranz One thing about Stanley Donen's Charade is that the characters played by the oh so smooth Cary Grant and the oh-so-well-dressed Audrey Hepburn were charming and intriguing. You can cancel out these attributes for their reincarnation by Thandie Newton and Mark Wahlberg. Their performances lack credibility, it's hard to find them at all interesting. There is no tension in what is supposed to be a thriller. It seems such a mismatched project by Jonathan Demme, remaking a mainstream, star-driven Hollywood film set in Paris from the 1960's as a nod to the French New Wave which was happening concurrently in the same city. The nods are heavy-handed, I found Aznavour wandering through proceedings embarrassing rather than endearing. This is a film that tries way to hard to be clever, so much so that it loses focus on the main event. For me The Truth About Charlie has no suspense, no charm, no fashion - Givenchy was such a star of the original - and no interest. The only interest was generated by Christine Boisson's performance as a cop and by the capturing of Paris. It didn't amount to much by the end.