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NEW Audio Commentary With Co-Writer/Director Bruce A. Evans And Co-Writer/Producer Raynold Gideon NEW A Conversation With Bruce A. Evans And Raynold Gideon NEW A Conversation With Composer Harold Faltermeyer Trailers & TV Spots

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Consider Mr. Brooks: a successful businessman; a generous philanthropist; a loving father and devoted husband. Seemingly, he's perfect. But Mr. Brooks has a secret - he is an insatiable serial killer, so lethally clever that no one has ever suspected him - until now. Earl Brooks is a man who has managed to keep his two incompatible worlds from intersecting by controlling his cunning, wicked alter ego Marshall. But now, as Mr. Brooks succumbs to one last murderous urge, an amateur photographer witnesses the crime. Suddenly Brooks finds himself entangled in the dark agenda of an opportunistic bystander, as well as hunted by the unorthodox and tenacious detective Tracy Atwood. Can Mr. Brooks outsmart his adversaries and conceal his shocking double life from his wife and daughter - or will someone expose his crimes and his identity once and for all? Kevin Costner as a warped serial killer, a pillar of the community whose dark side is embodied by an on-screen William Hurt? You have to admit, it sounds intriguing, right? Mr. Brooks is the vehicle for this unsavory story, and it turns out to be a lot less kicky than it sounds. Mr. Brooks is a Portland, Oregon tycoon and philanthropist whose "addiction" to murder is suddenly re-surfacing--with plenty of help from his sneering alter ego, who generally sits in the back of the car, goading Mr. Brooks on. (The other characters can't see William Hurt in all this, of course.) The unbelievably convoluted plot has Mr. Brooks confronted by a blackmailer (comedian Dane Cook) who has a surprising twist on things, and trailed by a cop (Demi Moore) who comes equipped with her own set of professional and marital woes. As if that weren't enough, when Brooks's daughter (Danielle Panabaker) comes home, it becomes clear that some traits run in the family. The scenes with Costner and Hurt are the best stuff in the film, even if director Bruce Evans can't figure out how to play fair visualizing their presence to othe