My latest theory is that movies that use numbers in their titles in a fun/escapist/frolicsome vein (like Ocean’s 11, Three Men and a Baby, Seven Brides for Seven Brothers) tend to succeed in a marketing sense but those that adopt an emotionally sincere, verging-on-solemn approach (like Four Feathers, The Number 23, Seven Pounds) send out uh-oh signals that make people a little bit wary. There are exceptions, of course. Sergeants Three, a lighthearted Rat Pack remake of Gunga Din, isn’t remembered fondly by anyone. And I’m not aware of Lina Wertmuller’s Seven Beauties having suffered for its title.

New Seven Pounds poster found on Alex Billington’s