It's all about Dolly, her new job allowing her to rail against unworthy men, pompous professionals and attaching too much significance to one's possessions, all while driving around in a big pink Chevy to a soundtrack of her own empowering ballads. Fluff, really, but personalities far less agreeable have taken us on ego trips much less diverting, and the film's romantic variables now appear so unlikely (Dolly with James Woods? Dolly with Michael Madsen? Dolly with anyone other than her stylist?) that predictability is never an issue.