Scientology bride and Anna Wintour impersonator Katie Holmes returned to the big screen this weekend, costarring with Diane Keaton and Queen Latifah in the shoddy comeback vehicle Mad Money. It's been three years since Holmes' role in 2005's Thank You for Smoking, Jason Reitman's successful indie feature debut that grossed more than $39 million worldwide and scored a Golden Globe nod for Best Musical or Comedy. Holmes's work in that film, however, was overshadowed by rumors that Tom Cruise had his then–future bride's sex scenes removed for a Sundance screening.

Over this past holiday weekend, Mad Money opened in the seventh-place slot, pulling in a meager $8 million, despite the bonus day on Monday. Reviews for the film have been bleak, especially for Holmes, who, finally released from Tom Cruise's clutches, has apparently crashed and burned. Maybe she should stick to running marathons? Well, we'll always have Pieces of April. Radar checks in with the critics for the final verdict ...

"As a comedy, [Mad Money] relies on Keaton and Latifah playing the same characters they always play, and Holmes overcompensating by switching into bug-eyed manic-comedienne mode. Her performance is part Lucille Ball, part overcaffeinated chicken, and it deserves some credit for daring, but none for execution."—The Onion A.V. Club, Jan. 17

"Faring markedly worse than her co-thesps [Diane Keaton, Ted Danson, Queen Latifah] however, is Holmes, whose character's compulsive habit and sole defining trait—listening to music and dancing on the job—gives her little to work with."—Variety, Jan. 14

"Holmes' appearance in the film does, however, provide the biggest mystery. Why would she, newly made-over, tabloidized and married to a superstar, take the part? Did she learn nothing from Nicole Kidman's example? Because this role is strictly and-then-not-much-happened-after-Dawson's Creek."—The Los Angeles Times, Jan. 17

"The cinematic comeback of the year award goes to ... someone other than Katie Holmes, whose comedy Mad Money is the most cringe-making return since Love Boat: The Next Wave. Holmes, with Alice Cooper hair and crazy Jim Carrey eyes, looks terrible and acts worse, unless this movie is unintentionally a lobotomy documentary.—The New York Post, Jan. 18

"The movie's weakest link is Ms. Holmes's underwritten Jackie, a one-note character who dances around the bank wearing headphones."—The New York Times, Jan. 18

"Holmes, before her abduction and reprogramming at the hands of Ming the Merciless, was often a charming actress, and in pictures like Pieces of April, she showed the promise of becoming quite a good one. If nothing else, Mad Money suggests that we haven't totally lost her. If she can bring a spark of mad joy to the act of stuffing money down her underpants, there may be hope for her yet." —Salon, Jan. 18

"The stars phone in their expected personas (Keaton testy, Latifah earthy), except for Holmes, who's unconvincing as a gum-chewing trailer babe."—Chicago Reader, Jan. 18