Self-described as “part Barnum and Bailey, part Bonnie and Clyde,” Bruce Willis and Billy Bob Thornton — and later on, Cate Blanchett — are the “sleepover bandits.”Pick a target, research the president of the bank, show up disguised on their steps and stay the night before going in together the next morning to rob the bank. Naturally, they become a media sensation, distorting the implications into a fun-for-all for the whole family. Barry Levinson’s trick is to give a glimpse of the duo/trio’s present hostage situation, while flashing back to an omniscient point-of-view via a “COPs” or “Most Wanted” reality TV show. Not long after the cogs start twisting, it becomes clear that Levinson is playing it all as an anserous and goofy sitcom. If Willis and Thornton’s duo weren’t unlikely and uncomplimentary enough to begin with, add in the über-emotional carrot-haired, or flicker-flame orange-headed Blanchett to romance the both. There’s a lower road, too — one involving a would-be stunt man, who falls in love with a mysterious blonde he happens to see several times, as well as Blanchett’s ignorant husband who thinks she’s kidnapped (“I’ll be in Spain, you know how to contact my people”). The broad comedy was a handful, but the subplot is an excrescence. However, the major plot revelation to be “set off” at the end is as obvious as a highway sign to anyone who has seen f/x, no matter how much Levinson wants to allude to Butch Cassidy and the Sundance Kid (e.g., The Alamo Bank, surround by an LAPD SWAT team).