'Murder By Numbers' is a psychological suspense-thriller that tells the story of a tenacious homicide detective, Cassie Mayweather (Sandra Bullock) and her new partner Sam Kennedy (Ben Chaplin) who become pitted against two malevolently brilliant young men (Ryan Gosling and Michael Pitt) in an ingenious battle of wits as they try to solve a murder case.

STEVEN SNYDER'S REVIEW

Be sure to bring a watch with an alarm.
If you find yourself being dragged to "Murder By Numbers," prepare to be bored and prepare to dose off. Accordingly, set that alarm to go off in 95 minutes and you'll be awake for the film's one truly interesting scene. No, don't worry, you won't miss anything important in the meantime
Even in the film's final minutes, its flaws obviously start with the hero: tough cop Cassie Mayweather (Sandra Bullock). She is a strong woman, and never once during the film does Bullock let the audience forget that she is the powerful focus of attention. She smacks on her gum, lives on a houseboat (so much for pink wallpaper), slams beer and Jack Daniels, uses men for pleasure and then kicks them out of bed in the middle of the night.
Humorously, her dominating screen time (note she produced the film) not only betrays the film's story but the audience's better taste.
"Murder By Numbers" requires an audience engrossed in a web of personalities. It is not an action film, nor a traditional thriller, but a psychological drama. The true payoff is witnessing what a character will do when thinks get rough-a character the audience understands and empathizes with.
Somehow Mayweather is allowed to obscure the other characters critical to this film's success. And, to make matters worse, the film seems bent on thrusting this egotistical, unsympathetic and emotionally stable woman to center stage whenever possible.
Despite what Bullock may claim, there are really four subjects of interest here-two teenagers and two homicide investigators. The kids think they can get away with the perfect murder. Hot on the case, the investigators are sure they can find those responsible.
Other films have succeeded with this formula. The 1995 film "Heat," one of the most underrated films of the '90's, hinged on a duel between a fearless crook and an obsessed cop. In it, the crook fully admits his intentions to the cop and dares him to foil the next heist.
"Murder By Numbers" takes a similar approach in positioning the murderers squarely against Mayweather and, you guessed it, her new partner (Sam Kennedy). Both parties seem to know the other's position and it becomes a standoff of personalities-a case study in game theory. However, while "Heat's" development succeeded because its characters were well-developed and its conflict featured equal foes, "Murder By Numbers" seems more interested in quantity than quality.
There are endless subplots involving Mayweather and those evil men in the department who want to stick it to her. There are mysterious flashbacks to some horrific event in Mayweather's past that serve as nothing but distractions. She and her partner repeatedly flirt or disagree about the real killers.
These payoffs may work individually, but together they destroy the film's focus. The only reason this film wins any stars is a wonderfully-developed sequence as both teenagers are interrogated about the crime. Wondering which side will crack and which will win heats up the story until, seconds later, the tension is abandoned and we're back to Mayweather's emotional problems.
This is symptomatic of "Murder By Number's" poor construction. Climaxes are interrupted, the psychological aspects of the film are abandoned for wholly unsuccessful melodrama, and another intriguing standoff between the two teenagers later degenerates into gunplay.
It also doesn't help that these kids sure do seem smarter than the cops. As Mayweather lies in the hospital with an injury, her partner details the adult subject suspected of the crime-with fibers in his house matching the crime scene, boots used in the crime found in his car, physical evidence from the victim found in his fridge, and the subject found dead following an apparent suicide.
To me, it sounds like case closed. But no, not to all-power, all-knowing detective Mayweather! Despite all this, she has a hunch and suddenly breaks the case wide open. I still laugh.
No matter, if this twist works for you, this film is your cup of tea. For those who don't bite, however, there is only one interrogation scene in which you will find reprieve from the humdrum predictability that surrounds Bullock and her tomboy charms.
To its shame, "Murder By Numbers" seems like a midseason television episode. It is assumed that we already know these characters, have followed the story, have few expectations and will change the channel if we don't see a gun, confrontation or tear every seven minutes.
My recommendation would be: Wait for this film to hit television on a Wednesday night. Then, during commercials within "Law and Order," flip over to see the one interrogation scene that works, and then promptly return to a drama that actually values characters, patient plot development, and writing that wakes audiences up rather than dulls them to sleep.

(out of 4)

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Chicago Sun-Times (Roger Ebert) [3/4]
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