The Number 23 starts off with mild-mannered Walter Sparrow (Jim Carrey) receiving a mysterious novel from his wife Agatha (Virginia Madsen). Suddenly his idyllic life is thrust into an inferno of psychological torture as he becomes more and more obsessed with the story about a detective named Fingerling. Cutting between scenes with the real Walter and the fictitious Fingerling (also Carrey) they both delve deep into obsession over what the significance of the number means to them. Now had the The Number 23 just stuck with that idea--how 23 somehow permeates our very existence--then it may have worked better. Instead the action veers off into Walter’s past as he starts to unlock suppressed memories and unearths an unsolved murder mystery which doesn’t really have anything to do with the number. And you feel ripped off. Is it a curse (divide 2 by 3 and you get .666)? Does it predict the future (the Mayans believed the world will end Dec. 23 2012 [20+1+2=23])? Or is it just one of those numbers that haunts you the more you try to figure it out? We want to know more dammit (that last sentence is 23 characters without spaces by the way). Yes Carrey plays it straight and this may be his darkest turn yet but it’s not like he’s never done it before. Carrey is a consummate actor folks. He’s pretty good at doing whatever he sets his mind to. He played the straight guy in Eternal Sunshine of the Spotless Mind just fine allowing Kate Winslet to be kooky instead. And as Walter he resolutely indulges in murderous obsessive-compulsive behavior while including a few moments of his unique comic stylings. Meanwhile Madsen is playing her second loving and supportive wife of this week (she plays one in The Astronaut Farmer as well) but that’s fine. She does it effectively. But what she also gets to do in Number 23 is portray a saucy sex-craved alter ego from the novel who likes to have dangerous and kinky sex with Fingerling—and she plays it to the hilt. Give this woman more juicy parts! Director Joel Schumacher knows how to make a Hollywood movie--that’s why the studios love him. Sure he’s made more than his fair share of stinkers (Batman Forever AND Batman & Robin) but he has also made some finely tuned thrillers such as Phone Booth and A Time to Kill. Number 23 sort of falls somewhere in between. Schumacher takes some creative license when we are in Fingerling’s world which makes for some arresting and stylistic visuals but he and newbie screenwriter Fernley Phillips really stretch things to make the whole murder-mystery subplot work within the context of the premise opting for cheap thrills and a standardized ending. Honestly it nearly ruins the whole movie—until you drive home and notice the number 23 EVERYWHERE! Number 23 is still gonna stick with you.
September 07, 2004 12:11pm EST
In Paparazzi celebrity photographers are an affliction that torment tens if not dozens of residents of Brentwood the Hollywood Hills and Malibu. Bo Laramie (Cole Hauser) is one such denizen. As Hollywood's brightest new action star Laramie along with his wife Abby (Robin Tunney) is set to enjoy the sweet ride of success until paparazzo Rex Harper (Tom Sizemore) and his marauding band of slimy shutterbugs turn his life into a living hell. Or at least a fairly large inconvenience. With a blatant nod to Princess Di the pesky paparazzi cause a high-speed car wreck which sends Bo's son Zach (Blake Bryan) into a coma of convenient duration and results in the loss of Abby's spleen. Which is fitting as the movie has no discernible spleen of its own. And so our hero who has obviously not received the standard studio briefing on the joys of contract killers takes matters (and a baseball bat) into his own hands. The model for Paparazzi is the vigilante movie: Death Wish Billy Jack Walking Tall and the like. But whereas Bronson's Paul Kersey devolved from architect to cold-blooded killer only when faced with impossibly high stakes (the murder of his wife and rape of his daughter) Laramie by contrast turns into a serial killer and a sloppy one at that over a little retinal glare. And doing it all by himself? One imagines the Anthony Pellicanos of the world dispatching guys like Harper during a Pilates break.
It's problematic asking non-movie stars to play huge movie stars for obvious reasons. Bo Laramie is supposed to be the biggest thing since Ah-nuld held his day job but as Hauser plays him he comes off more like Michael Dudikoff. Even as he's beating paparazzi to death with his own hands there is no sense of a human being or even a movie star being pushed to his limits. Tunney who was terrific in Niagara Niagara has nothing to do and neither does Dennis Farina as the cop conflicted by the A-list avenger. Sizemore of course steals every scene he's in effortlessly and ruthlessly. In spite of his recent legal troubles (or perhaps because of them) he brings just the right dosage of dangerous persona and edgy charisma to his growing roster of manic miscreants. Ultimately though even his involvement is disappointing: When he's on screen he fools you into thinking a real movie is about to start.
First-time director Paul Abascal is but a pawn in Mel Gibson's dogmatic production slate. Screenwriter Forrest Smith had a small role with Gibson in We Were Soldiers and reportedly leveraged the moment to pitch Paparazzi to the actor/producer/Catholic poster boy. Gibson has had issues with his privacy before and has already proved himself shameless in using the movies to promote an agenda. So as with The Passion of the Christ a movie that wouldn't have gotten so much as a sniff at any other studio found itself with a green light. And Bo Laramie became family man/action hero Gibson's violent alter ego. Or maybe just ego. (Gibson also has a brief cameo and the one sheet for Laramie's "movie" Adrenaline Force 2 is a dead ringer for the poster art for Lethal Weapon 2). With Gibson's personal profits alone surpassing the $400 million mark with this week's Passion DVD sales and Paparazzi's budget listed at $20 million Gibson could make 20 sequels to Paparazzi. Or he could use the producer's pulpit to speak out against other vexations in his life. Somewhere at Icon world headquarters Leaf Blower: The Movie just went into pre-production.