S.W.A.T. bears less of a resemblance to the 1975 TV series from which it derives its title (and the name of its principal characters) than it does to every other 2003 action film. With its rapid cuts (sometimes around one-hundred per minute) and emphasis upon stylized action over intelligent storytelling, S.W.A.T. fits in nicely with every other teen-oriented summer blockbuster packing in the crowds at the local multiplex. However, with its late release date, the movie seems more like an afterthought than a legitimate member of the summer class of 2003.

The "S.W.A.T." TV series was a police show. The movie is a high-octane, brain-dead action picture that happens to feature cops as the characters. Viewed from a certain perspective, S.W.A.T. can be seen as having been cleverly constructed. The first hour uses poor pacing, inane dialogue, and failed character development to deaden the higher centers of the brain. That way, the second half of the movie, which really doesn't make much sense and is riddled with plot holes, can succeed on a purely adrenaline-fueled basis. Yes, during the second half, S.W.A.T. generates some momentum and sustains a moderate level of tension - even if it's all accomplished by smoke and mirrors.

Living legend Lt. Hondo Harrelson (Samuel L. Jackson) has been brought back into the LAPD fold to form his own S.W.A.T. unit. It takes more than 30 minutes for him to recruit the members of his elite group: Jim Street (Colin Farrell), an ex-S.W.A.T. officer who is in the Captain's dog house; Chris Sanchez (Michelle Rodriguez), a tough cookie who was never given a chance because she's a woman; Deke Kay (LL Cool J), a hard-working cop who's anxious to prove himself; Boxer (Brian Van Holt), a wisecracker whose sister recently broke up with Jim; and T.J. McCabe (Josh Charles), a crack shot. After enduring the obligatory training exercises and going on a low-key mission or two, Hondo's team gets the unenviable task of guarding international drug lord and weapons smuggler Alex Montel (Olivier Martinez), who has promised $100 million to anyone willing to take on the LAPD and free him. And there's no shortage of people willing to take Alex up on that offer.

The underlying premise of S.W.A.T. is better than what appears on screen. The idea of a criminal creating a feeding frenzy by offering a fortune to anyone willing to break him out of jail has promise, but this movie fails to explore it, opting instead to use it as a formula plot device. Instead of developing a taut, suspenseful chess match between the cops and the underworld, we end up with a routine series of fights and chases. In the end, I felt a little cheated, because I was dimly aware of the wasted potential. Director Clark Johnson, making his feature debut after toiling in the television realm for years, has adopted the MTV style favored by too many ADD-afflicted filmmakers - never let the camera hold for more than a second during an action sequence, and make sure that the soundtrack is comprised of loud, obnoxious, often-inappropriate rock and/or rap songs. (One would think that the theme song for "S.W.A.T" - one of the greatest TV theme songs of all time - would be featured prominently, paralleling the approach used in Mission: Impossible. No such luck. The music isn't missing in action, but, considering the ways in which it is misused, it might as well be.)

Of the actors, only Michelle Rodriguez (Girlfight) shows a little fire. LL Cool J, Brian Van Holt, and Josh Charles seem to be working with an internal "mute" button stuck in the "on" position. As the cardboard cut-out villain, Oliver Martinez' only distinguishing characteristic is his accent. Not even the bad acting is unique. Colin Farrell is playing one of his stock characters - in this case, it's the loose canon good boy. And, for whatever reason, Samuel L. Jackson comes across as vaguely bored or distracted. This is one of the few times I can recall Jackson lacking his usual intensity. As a result, even his "cool" one-liners lack a certain conviction.

S.W.A.T. likely won't please fans of the original TV series, but the movie hasn't been made for them. (For example, no effort was made to give cameos to the surviving cast members.) It will probably satisfy its target audience, although, as with most disposable entertainment of this sort, all it offers is a brief distraction from the rigors of real-life, with no lingering post-credits buzz. S.W.A.T. will be forgotten by the next morning. To me, that sort of superficial, ephemeral diversion hardly seems worth the price of admission - but then I'm not the one paying.