The Number 23 reviewed by Samuel Osborn

Psychological thrillers are a tough gig. You need an ending. The build-up, the suspense, the rising action, all that squirmy paranoia, it's easy enough to build. It's the ending that's the tricky part. Films like Memento do it right; films like Fight Club, too. Their twist, the unraveled knot of anxiety that splays out in explanation and relief, comes with another bulge of knots; it leaves you breathless and troubled, disturbed if you're lucky. But without the ending, without the final flick in the nose and punch in the gut, a psycho-thriller is just a bunch of untied shoelaces.

This is the affliction born to The Number 23. It's a fine two-act movie. But that third act…with the climax all flaccid and the end a noiseless wheeze, it leaves us with that let-down feeling of something promising turned instantly to a sham. I won't give the ending away, but suffice it to say that it's summed up by the word "typical." Commonplace is the ending. And commonplace is somewhere The Number 23 has no business being.

The rest of the film is a good one; a fine looking few rolls of celluloid, in fact. Jim Carrey plays the lead, still rounding off the sharper edges of his comedy and reminding us happily of Tom Hanks' move from comedy to drama. He's a hopelessly likable actor paired gracefully with Virginia Madsen, who plays Carrey's wife and mother to his teenage son. The family lives comfortably under Agatha's (Madsen) cake shop and Walter's (Carrey) job as an animal control officer. The paranoia enters like a whisper, as feckless and unassuming as director Joel Schumacher can stand.

The famously melodramatic director is often thought of as the second-string choice for any theatrical film-making, just behind the dramatic grandmaster Baz Luhrmann (Moulin Rouge!). Schumacher revels in colors and camera tricks, over-saturating and under-saturating his images until they're hardly recognizable. The effect here is controlled, but not empty of pizazz.

The book Agatha finds (or does it find her?) when waiting for Walter outside a used bookshop is "The Number 23" by Topsy Kretts. Walter opens the novel on his day off, gorging himself on the minutiae of its hardboiled detective hero and fantasizing himself in the lead role. Schumacher indulges Walter further, fancying "The Number 23's" Detective Fingerling as a slippery-haired Mr. Carrey in a cheap suit and a dry growl. Much of the story is actually told within the novel itself, with Fingerling getting lost in the numerology surrounding the number 23 and slipping towards the inevitability of murder. Back in reality, Walter is finding uncanny resemblances between Fingerling and himself. It's as if, he once mentions, the author knows him better than he does. Agatha writes it off as an effect of good literature, but reconsiders when she finds scribbled numerology on Walter's arm one morning with the underlined words "Kill Her." He's begun to see the number everywhere. It's in his name, his social security number, his birth date, and even the day he and Agatha first met. His paranoia, once a whisper, is now a screech, and he worries for the safety of his own family.

Stop there. Just stop the film, put down your popcorn and walk away. Because that's as good as The Number 23 will get. The bouncy humor, the family drama, the rise in paranoia, the fascination in 23, it all works up until here. But it's as if Screenwriter Fernley Phillips lost the thread. It was unraveling with speed and machismo, promising to tower upwards in a great final disturbance. But instead it turned inward and ricocheted blindly backwards. Instead of opening up the throttle and letting the number have real meaning and significance, Phillips turns the plot inward and shells up the climax with a muffled grunt.

Samuel Osborn

THE NUMBER 23 sees Jim Carrey in a so-called 'serious' role playing a normal family guy who gradually becomes obsessed with the number 23. That's the extent of the plot; does it sound gripping to you? No, me either, and this movie turns out to be a relatively pointless thriller that covers the same type of ground as a dozen others. The only problem is that those others were better.

The crux of the plot seems to hinge on who the author is of a mysterious book that leads to Carrey's obsession. The stakes, therefore, are hardly high; at least in films like KNOWING, the central characters have portents of impending disaster and try to do something to stop it. I never felt drawn into the premise of this film, was never really bothered whether Carrey figured it all out or not. It's as if a one-sentence premise was written down and then a lacklustre film constructed around it. Where's the danger, the suspense?

The jury's out on Carrey in this film. He tries to be serious, but his manic moments recall THE CABLE GUY and he can't resist throwing in some goofy humour. Personally, I think he has zero range, as evinced by this and ETERNAL SUNSHINE OF THE SPOTLESS MIND. The supporting players are better: ageless Virginia Madsen as his wife, Danny Huston as a typically sinister type, a little role for Ed Lauter. It's not enough to stop this being anything but average, though.

Walter Sparrow (Jim Carrey) is a family-man married with Agatha Sparrow (Virginia Madsen),and works catching dogs in the Department of Animal Control and has a teenager son very close to his wife and him. On the day of his birthday, he is bitten by a dog and comes late to meet Agatha. While waiting for him, Agatha buys a detective book with a novel about the mystery around the number 23 in a bookstore as a gift to Walther. He becomes captivated with the story and obsessed with the number 23, finding many coincidences with his own life, and he decides to find the author, believing the story is about him. His further investigation discloses a mysterious situation that makes Walther paranoid.

The dark "The Number 23" is a great tale of obsession, paranoid and redemption. The story and the characters are very well developed, the final twist is totally unexpected and the film has a stylish cinematography and edition, with intense use of dark colors. There are stunning sequences, like for example when the boy meets the widow dead on her bed, or the meeting of Fingerling with Suicide Blonde. Jim Carrey is perfect and Virginia Madsen is still a very beautiful and sexy woman and has a great performance. In spite of having a moralist conclusion, it works and leaves a magnificent message of justice and moral standards that are almost forgotten in the present days. My vote is eight.

Title (Brazil): "Número 23" ("Number 23")