Reel Critics

Ray Buffer

Potboiler POT-boi-lur, noun:

A usually inferior literary or artistic work, produced quickly for the

purpose of making money.

When you go to see “Murder By Numbers” do not expect a whodunit styled

mystery. The tale is told in an open fashion. You know who the murders

are and watch as they attempt to manipulate the police.

After all the ingredients of this yarn are tossed in the blender,

“Murder By Numbers” satisfies despite itself. Here are the ingredients:

In the first bowl combine 1/2 a cup of the 1924 Leopold & Loeb true crime

involving two intelligent young men (portrayed in this film by Michael

Pitt and Ryan Gosling), who kidnap and murder in an attempt to construct

the perfect crime. Add two pinches of the Dartmouth murders of 2000 where

two young men killed two college professors primarily for the thrill,

then mix in a tablespoon of Truman Capote’s controversial ode to capitol

punishment, “In Cold Blood.”

Now stir.

Wisk into this a watered down cup of CBS’ excellent forensic drama,

“CSI” and set to the side.

In a separate bowl, pour in Sandra Bullock’s crime-fighting character

from “Miss Congeniality” while carefully removing the humor and

likability.

Season freely with a dark mysterious past.

Add a new junior partner (Ben Chaplin) who she can boss around easily,

and substitute a Janitor (Chris Penn) for the traditional ingredient of

red herring. Now, combine the contents of both bowls and beat together

for 121 minutes. Garnish with an out-of-place, hungry and rabid, baboon

in bondage.

The sous chefs are screenwriter Tony Gayton and director Barbet

Schroeder.

Bullock also executive produced with Richard Crystal.

Saving the recipe are outstanding performances by both Gosling and

Pitt as the two murderers, and an understated performance by Bullock.

Gosling and Pitt infuse the film with an adolescent evil supported by a

cult-like pact. It is evident that they are more than close friends, but

that instead of having a sexual relationship, they derive pleasure and a

sense of freedom from random acts of violence. A computer morphed image

of the two young sociopath’s faces into one completely different face is

displayed in their hideaway. Although eerie, this image also ironically

reflects what is wrong with the film. By commingling so many different

plot devices and elements together through the input of producers,

directors and screenwriters, the stew is almost spoiled by too many chefs

in the kitchen. Each character’s story could have filled a movie on its

own, but by being jammed together they come across as shallow and

underdeveloped.

The film’s tale is ultimately about facing reality, and its true

mystery lies in whether loyalties can be kept despite challenges. The

reality of this film is that there are great performances to be seen and

although bleak and muddled, it does satiate the appetite for

entertainment.

* RAY BUFFER, 32, is a professional singer, actor and voice-over

artist.