Clearly, we were expecting too much.

Fifteen lousy bucks for “Hannah Montana and Miley Cyrus: Best of Both Worlds Concert 3-D” and you still learn nothing about sucrose-charged sprite Cyrus and her rock-star alter ego.

You get no sense of her life as the daughter of country entertainer Billy Ray Cyrus (”Achy Breaky Heart”), how she got her role on the Disney Channel series on which this concert was based, how she handles the rigors of a Disney life, how she rehearses or improves on the songs of committee-level competence that make this short movie seem endless, endless, endless.

Oh, but wait. It’s in 3-D, a gimmick truly on the cutting edge in . . . 1953. (I was waiting for Vincent Price to duet with Miley Cyrus. No luck.)

The technology gives you the joy, if you are 12 and not a critic, of being totally assaulted with an overcompensating sound system and the sensation of being amid a sea of prepubescent hands and their squealing owners. One stagehand rightly likens it to standing near a jet at takeoff.

You get Cyrus’s long blond mane whisking your face, and her tongue sticking out many times, as if to emphasize that she just took you for $15. Little brat. And her drummer sure likes to twirl his sticks. They nearly poke you in the eye at times.

After 10 minutes, you start wishing that would happen.

No serious viewer was expecting the filmmaking talent here — director Bruce Hendricks and choreographer Kenny Ortega — to make “The Sorrow and the Pity.” But the sorrow and the pity is that they have taken this concert film too literally. It is strictly a pastiche of the recent 69-city tour featuring Cyrus.

Broken-hearted Michelle Williams ended her long silence Friday on the death of ex-boyfriend Heath Ledger, saying the actor’s spirit endures in their daughter, Matilda.

“All that I can cling to is his presence inside her that reveals itself every day,” Williams said in her first public comments about the Oscar nominee’s death.

“His family and I watch Matilda as she whispers to trees, hugs animals, and takes steps two at a time, and we know that he is with us still. She will be brought up with the best memories of him.”

Williams was with their 2-year-old daughter, filming a movie in Sweden, when she learned of Ledger’s Jan. 22 death from a possible drug overdose.

A masseuse found the 28-year-old Australian’s body in his $24,000-a-month SoHo loft. A cause of death, based on toxicology tests, is expected early next week.

Considering that it ranks as one of the best of the J-horror films, it’s surprising that it took this long for an American remake of the Pang brothers’ 2002 “The Eye.”

Less surprising is that this version, directed by David Moreau and Xavier Palud (”Them”) sacrifices the quietly creepy qualities of the original in favor of ramped-up horror film techniques that by now seem distressingly familiar.

Starring Jessica Alba as a blind girl who gains both her sight and the ability to see dead people, the film opened Friday without being screened for the press.

Sebastian Gutierrez’s screenplay hews fairly closely to the original in its story about Sydney Wells (Alba), a concert violinist blind since childhood who regains her vision thanks to a double cornea transplant. (”Stem cell research changed the game,” a therapist informs her, in a not too subtly political piece of dialogue.)

Unfortunately, Sydney’s newfound ability to see comes with a price. When the bandages are removed after the operation (revealing a surprising lack of swelling), she soon finds herself afflicted with horrific visions, involving both fiery disasters and a succession of vaguely menacing figures who are no longer alive. Needless to say, this results in a lot of embarrassing situations in which she sees things that are invisible to the other people in her life, including her sister (a wasted Parker Posey), her orchestra leader (a similarly wasted Rade Serbedzija) and her vision therapist (Alessandro Nivola).

Sydney eventually figures out that the problem stems from her eyes’ donor, a young Mexican woman. Traveling with her therapist across the border, the pair discover that the woman had similar visions, particularly one relating to a devastating fire. It all winds up, in typical American horror film fashion, with a spectacular finale involving an explosive highway accident.

The filmmakers do an effective job of conveying the main character’s visual disorientation before getting to the main business at hand. But though some of the sequences are impressively spooky — like the one in which Sydney encounters a startled woman who has just been killed in an accident — their effectiveness is marred by such overkill as the shrieking ghouls who escort the ghosts.

Wesley Snipes‘ federal tax-evasion trial wasn’t quite as taxing as expected for the actor’s defense team.

Lawyers representing the star in his tax-dodging case, which could potentially see him sent to prison through 2024, unexpectedly rested their case Monday morning without calling a single witness—big name or otherwise—to testify in the trial.

Snipes’ legal team, led by Robert Barnes, rested its case after just one hour in the courtroom. The prosecution, by contrast, spent the past two weeks arguing their case for the jury and only rested on Friday.

Barnes & Co. explained their no-defense tactic by claiming the prosecution’s case was so weak, they bore the “complete failure of their burden.”

“We could have called a bunch of Hollywood stars,” Snipes attorney Robert Bernhoft said, adding that the decision not to call any of Tinseltown’s finest to testify was only made Sunday night after a closer examination of the prosecution’s case.

“We could have put on a big show, but we don’t do that. We’re not going to waste the jury’s time.”

Led Zeppelin might not be headed over the hills and far away quite yet — the recently reunited rock legends have let it slip that they may actually perform together again after all, but not before September.

Guitarist Jimmy Page revealed the scenario over the weekend, according to Reuters, saying that the legendary band’s one-off, strongly received December reunion gig in London, which sparked rumors of a world tour, was likely a precursor to more shows.

“I can assure you the amount of work that we put into the O2 [concert], for ourselves rehearsing and the staging of it, was probably what you put into a world tour,” Page said, adding that more shows are off for the moment because of singer Robert Plant’s commitments to touring with bluegrass star Alison Krauss in support of their Grammy-nominated joint album, Raising Sand.

“Robert Plant also [has] a parallel project running, and he’s really busy with that project, certainly until September, so I can’t give you any news,” Page added.

In an interview with New York’s Madison Square Garden Network during halftime at a Knicks game on Friday, Plant also opened the door to more shows, saying, “You never know what is around the corner. It’s just nice to play with those guys,” when asked about Zeppelin tour rumors.

That’s a sharp contrast from what Plant said in late September, when he shot down claims of a potential tour outright. “There’ll be one show and that’ll be it,” he told British music mag Uncut.

Plant’s remarks had come days after Foo Fighters frontman Dave Grohl apparently volunteered his services for a potential Zep tour. After saying that he had planned to sneak his way into the long-sold-out London show, the former Nirvana drummer added that he wouldn’t mind manning the kit for Led Zeppelin if needed. “[I am] at their beck and call,” he told British music weekly the New Musical Express.