What’s Your Number?
Anna Faris went out of her way to that “What’s Your Number?” is a comedy, sexy and irresistible. She arrived there at half, eventually giving up when the story is flatly conventional.
A woman (Anna Faris) thinks she has had too many lovers and the next will be good. With the help of her neighbor (Chris Evans) which multiplies the gains, it tries to reconnect with people that have marked his past. Maybe now, the relationship will work properly…
Along with Tina Fey, Anna Faris is probably the funniest actress of the moment. Her own personality, her voice so special, reactions unique: it has everything to stand out. And she knows it, using each of the attributes to make them laugh along the way. She is the main attraction of her new feature film and it does not skimp on the effort by her antics charming, surprising in its cheerfully vulgar language. When accompanied by the tender and charismatic Chris Evans, test stands a little more. They are a couple of thunder, complementing perfectly.
This fuel is however not sufficient to bring “What’s Your Number?” to the right path. The scenario is based on the novel “20 Times a Lady” of Karyn Bosnak is not in subtlety. There are moral per tonne, good feelings and situations completely predictable. While the effort might well have been a succession of such, the narrative abandons this idea poorly developed (there are so many good actors under-utilized, including Andy Samberg) to explore close to heroin. This gives sounding lessons about love and family, on marriage and the need not to mix social classes.
Achieving approximately Mark Mylod (“Ali G Indahouse”) does not raise the greatest interest. His staging is commonplace, as his choice of music (with the exception of a classic New Order). The pace halftone is still the road, crashing, however miserably in the last 30 minutes, coming virtually shut all the fun and happiness until then met.
“What’s Your Number?” is not fully completed that there are already three conclusions to be drawn. Anna Faris is far too lovely and talented to be limited to this type of anonymous production. All would have worked much better in a sitcom weekly half-hour that fully exploits its true subject. And after the delirious “Bridesmaids”, the bar became higher for the films that touch directly or indirectly the subject of marriage among young adults. Like what this nice but futile coquetry did not really have the right number.
