360 has a circular structure that's deftly pleasing, though the human drama is just facile enough to make it seem, in the end, a little too much like connect the dots played with people.
Mr. Morgan has written some good movies, notably "The Queen," and Mr. Meirelles has won fans for neo-exploitation titles like "City of God." There's no way to know what went wrong with "360" and whether it was this uninvolving and shallow from the start.
Though the cinematography looks sleek, with shots through windows and in mirrors, split screens and city lights that blur and sharpen, the stories equate to a tangled mess.
"360" gives us much in the way of international anguish, frustrated coupling and longing stares, but there's very little plausibility or genuine emotion in its egregiously contrived story of ardor gone amiss.
With its international collection of mostly two-dimensional characters and its barely developed ideas on adultery, capitalism, addiction and sex, "360" is an over-plotted and dreary farrago.
One of those movies with a plot that is intricately constructed of a bunch of seemingly unrelated parts that end up fitting together improbably, but very nicely at the end.