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Although it drags for 105 lugubrious minutes, Striptease is not the embarrassment that Showgirls was - not by a long shot.

The movie's fatal flaw is to treat her [Moore] like a plucky Sally Field heroine. That throws a wet blanket over the rest of the party.

Striptease is a curious mix of eroticism, comedy, and drama that, instead of blending into a pleasing whole, has a tendency to separate and curdle.

While Showgirls was funny the whole way through, Striptease has long, dreary stretches, where you're forced to watch Demi Moore undressing.

Yes, Burt Reynolds has some dirty, lively moments as a crooked, sex-starved Congressman. But the crazy, nothing-to-lose anarchy of people living below the margin and beyond the fringe is not within Bergman's fastidious reach.

The kind of comedy thriller which cancels itself out, this is pitched too close to caricature to engender suspense, but lacks the crisp, acerbic wit which distinguishes Hiaasen's prose.

If you get stuck at Striptease, my advice is to relax and try to enjoy its occasional pleasures.

The Fort Lauderdale setting imparts little flavor or atmosphere, and the same goes for the flagrantly unerotic dances.

Unfortunately, no one seems to have clued Demi in on the joke. Never known for her light touch, she appears to be act-ing (earnestly, humorlessly) in some other movie altogether, a dreary melodrama about a noble mom fighting for her child.

Tired ethnic stereotyping abounds in the Striptease script, which is at a loss for any kind of drama between Moore's dances. Not for a second do we care about her as a mother, wife or working woman. Only her first dance in a modified man's suit approaches the energy of the much better Flashdance.