According to the production notes for “Ultraviolet,” writer-director Kurt Wimmer (“Equilibrium”) wrote the 21^st century half-vampire superhero Violet with “Resident Evil” actress Milla Jovovich in mind. His other source of inspiration was John Cassavetes’ superb 1980 cult classic “Gloria,” that tale of a woman (Oscar-nominee Gena Rowlands) and young child on the run from the mob just perfect for a sci-fi comic book update.

Quite frankly, Jovovich should never let Wimmer do her any favors again and someone from the director’s office should send Cassavetes’ estate a letter of apology.

“Ultraviolet” is that bad. Really. I’m not kidding. It is a nonsensical mess of ideas, concepts and plot strands blatantly stolen from other movies and insultingly passed off here as something entirely new, different and original. The movie is ridiculous, easily one of the most insulting piles of garbage I’ve ever sat through. Wimmer throws out anything even remotely resembling plausibility in the first few frames, the film so incoherent the only thing it actually does accomplish is to cement itself as an early frontrunner for 2006’s worst motion picture.

In fairness, there are things here probably worth commenting on which might actually sound positive. Jovovich certainly fits her character (a pissed-off vampiric freedom fighter trying to protect a young boy named Six, played by the suddenly everywhere Cameron Bright, who might be the key to her species’ survival). As “Resident Evil” and “The Fifth Element” demonstrated, the actress can kick butt with the best of them. The visual look is also distinctive, everything shimmering eerily as if Wimmer dipped the picture into a stew containing the melted essences of “Tron,” “Final Fantasy” and the latest Xbox 360 video game.

Do I so not care, at all, or in the slightest most infinitesimal bit. This thing is insipid. Painful to watch and almost impossible to sit through, “Ultraviolet” is excruciating. I never leave movies early, no matter how bad they are I manage to get all the way through (even the “Rollerball” remake), but my goodness had I not been there with a group of friends I pretty much guarantee I would have bolted this time. Time and time again Wimmer shoots his picture in the foot, all of it edited so haphazardly any chance a person has to enjoy it lost amidst the cacophony of jump cuts and laughably absurd monochromatic close-ups.

It’s the script that always matters most, of course, and this one’s horrific. There are bones for a decent B-grade science fiction anime-fueled spectacle here but they have no meat to them. People die, are resurrected, die again, come back, go away, return and then suddenly do it all over once again. The twists are stupid, the turns idiotic and the main strands holding all of it together are so thin a butterfly flapping its wings too close would probably sever them in two.

Apparently, Wimmer’s input on the script for the wonderful 1999 version of “The Thomas Crown Affair” was as a cheerleader because he certainly couldn’t have given director John McTiernan and co-writer Leslie Dixon anything substantive to work with. Based on the rest of his resume (“Sphere,” “The Recruit,” “Equilibrium”) the guy is a hack who wouldn’t know a good idea if someone slapped him in the face with one. “Ultraviolet” is, by far, his worst work yet, and hopefully when no one actually takes the time to go see it, the only light left to blow out is the one dimming on his heretofore unremarkable career.