WHEN IRA KANE (David Duchovny) and Harry Block (Orlando Jones) find microscopic forms within some blue goop oozing from a meteorite that recently hit Arizona, the pair of science professors from the insignificant Glen Canyon Community College believe they are the first to have proof of life on another planet. But their excitement turns to alarm as the microbes begin to evolve into all forms of reptiles and insects (a few even reaching Neanderthal status), at a shockingly rapid rate.
Unable to contain their discovery any longer, the US military moves in to take control. Yet even under the army's watchful eye, the monsters quickly escape. After a large reptilian bird smashes through the glass of a shopping mall and plucks up an unsuspecting shoplifter (I guess that proves crime doesn't pay) the race is on to try and stop the creatures from holding the entire country within their grasp.
As the men in green use gun power, Harry and Ira explore some scientific approaches, until they become convinced they have found the secret formula to destroy the aliens. Unfortunately, the head of the operation is General Woodman (Ted Levine), a former boss of Ira's, who still remembers, and has not forgiven, Ira's bunged attempts at developing an anthrax vaccination (which resulted in a litany of side effects including erectile dysfunction), and consequently has little respect for his new idea.
But Duchovny's character is not the only thing that fumbles in this movie. After tripping over plot inconsistencies (Why did only one giant bird hatch? Where did the giant "amoeba" come from?), many needless profanities, oodles of sexual innuendos, and a too-long shot of Duchovny's naked rear (his best side?), this supposedly humorous sci-fi flic falls flat. The story is too cheesy for older audiences, while younger viewers will likely find the digitally animated monsters and "scare scenes" too frightening.
By the director of the 1984 film Ghostbusters, a story about some science klutzes who end up saving the world (hey, that sounds familiar), it appears that Ivan Reitman work hasn't evolved a whole lot over the last 15 years.