As the countdown rumbles on at number seven we look at The Painted Veil, which gives a nod back to the Merchant Ivory movies of the past and brings romantic melodramas back to the big screen. And The Number 23 as Jim Carey tries his hand at a serious role.

No 7 The Best: The Painted Veil
Unfortunately the Painted Veil isa movie that slipped under the radar for many cinemagoers which is a pity as it contained someof the best cinematography that you will see all year.Kitty Fane (Watts) marries Walter (Morton) due to pressure to settle down from her wealthy parents, despite her lack of love for him.The couple move to Shanghai soon after their marriage where Kitty begins an affair with Charles Townsend (Schriber).As Walter becomes aware of the affair he asks his wife to accompany him to the remote town of Mei-tan-fu where there is a cholera epidemic.

When she refuses he threatens her with a scandalous divorce. She finally agrees to go to Mei-tan-fu when Townsend makes it clear that he will not leave his wife for Kitty.

Based on the 1925 novel by W. Somerset Maugham this movie is classily made and has all the hallmarks of the old Merchant Ivory films.

The Painted Veil is amovie abouth growth and self discovery for the lead characters as the mismatched couple, under trying circumstances, come to appreciate qualities in each other that they didn’t know were there and ultimately fall in love.

Naomi Watts has moved out of the shadow of Nicole Kidman delivering a controlled performance as Kitty, who goes from spoilt rich girl to a woman who is worthy of her husband.

And once again the versatile Edward Norton is superb as the tortured Walter, who genuinely loves his wife.

Director Curran has been brave in taking on this project as it would have been fashionable thirty years ago.

The lush romantic melodramas have gone out of fashion insted we prefer the modest domestic drama that takes place in our own backyard.

But Curran, with the help of a fine script and good actors, has brought this genre of movie back into the twenty first century.

With the help of some beautiful cinematography that plays up the trouble's that China was experiencing at the time, mixed with the beauty of the surrounding area it packs an unexpected punch.

No 7 The Worst: The Number 23

Jim Carrey takes a break from his comedic roles, for which he is famed, to take on teh more serious character of Walter Sparrow in The Number 23.

Spiraling into a dark obsession with the number 23, Walter Sparrow twists his once idyllic life into an inferno of psychological torture that could possibly lead to his death as well as the deaths of his loved ones.

Spurred on by a mysterious novel, The Number 23, that he doesn't dare put down, Walter is forced to unlock the secrets of his past before he can continue his future with his wife, Agatha, and teenage son, Robin.

Sadly it's more cliched than creepy relying heavily on influences such as The Shining leaving the audience asking themselves 'Haven't we seen this before?'

Walter's madness is handled poorly as if the film has no patience to prolong his anxiety, which would have helped with the belivability factor, leaving poor Walter to go from slightly curious about the book and the number 23 to stark raving mad in a matter of minutes.

It's a shame because the opening act sets the story up well promising the audience that they are in for an exciting ride but what could have been an edge of your seat thriller turns sloppy and the mystery and tension collapses.

Jim Carrey does well as Walter who becomes mentally tortured by the book that he reads and the secrets that he unravels.

It's not his performance that lets the film down it's the poor script. Away from the comedy roles he has the potential to be a fine actor but this film has done nothing to improve his acting CV.

In all The Number 23 is a major let down as the tension and menace disappears instead of being sustained and the poor script will fill you with skepticism rather than the dread that was intended.

Even at a mere ninety five minutes this film outstays it's welcome and the credits couldn't roll soom enough.

Helen Earnshaw