The boys just wanna have fun -- and loads of it.

The Whole Ten Yards is an excuse for Bruce Willis, Matthew Perry and Kevin Pollak to cut loose and just be silly.

It's an old-fashioned screwball comedy in which between the jokes bullets fly and bodies drop.

Willis plays hitman Jimmy (the Tulip) Tudeski, who has gone into hiding from the Hungarian mob and its godfather, Lazlo Gogolak, played by Pollack in makeup as thick and phoney as his accent.

But that's part of the fun.

Willis counters by having Jimmy appear as the perfect domestic.

He sends his new wife Jill St. Clair (Amanda Peet) out to do the hits while he stays home to clean house and cook exotic meals such as Lobster Tudeski.

If you find Willis in apron, head scarf and fluffy bunny slippers hilarious, then you're going to love The Whole Ten Yards.

If not, the next 70 minutes of the film are going to be a nightmare because things just keep getting more absurd and ridiculous.

I have to admit I was howling and that I found all of Perry's bumbling antics almost as consistently funny.

This is the kind of farce Jack Lemmon and Tony Curtis churned out when they teamed up for The Great Race and Peter Falk and Alan Arkin gave us in The In-Laws.

I even like the Michael Douglas remake of The In-Laws, so I have a soft spot for such tomfoolery, especially when it is done with no apologies, as in the case of The Whole Ten Yards.

It's pretty obvious Willis and gang are enjoying themselves and will stoop to any level to get a laugh, groan or guffaw.

There's a sequence in which Willis and Perry get drunk and wind up naked in bed that has Perry bouncing off walls in disbelief.

It's the kind of shtick that made him famous on Friends and he does it well and effortlessly.

As Willis's former wife and Perry's current wife, Natasha Henstridge has far too little to do.

She ends up as Pollak's hostage while Willis, Perry and Peet get to do all the running, stumbling, bickering, shooting, ducking and romancing.

Director Howard Deutch tries to keep The Whole Ten Yards moving at fever pitch, but to little avail.

Willis, Perry and Pollak slow things down each time they do one of their little routines.

Deutch thinks his movie is about gangster mayhem, but it's really just a series of sketches that allows Willis to recapture some of the droll comic magic he had on Moonlighting and for Perry to prove what an accomplished physical comedian he is.

I have a funny feeling Willis and his pals don't really care if they connect with audiences.

They obviously had a blast making this movie and are inviting people to party along with their memories.

Be warned, it's the kind of party where anything and everything goes.

(This film is rated 14-A)

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