Se7en
November 12th 2007 12:49
Written as The Seven Deadly Sins, but shortened to the conceptual and smartass title of Se7en (1995), director David Fincher’s neo-noir tale of a serial killer, the pitch black brilliance in the execution of his master plan, and the two policemen who are desperately trying to get catch him, is a stroke of genius.
The superb screenplay by Andrew Kevin Walker unfolds with a stylish clarity, atmospheric intensity and visceral edge crime seldom seen in drama-buddy flicks. But it’s the hybrid noir-horror feel of the movie that makes it so damn interesting; a twisted morality tale sunken in the mire of sociopathic absolution and the sins of the good and pure. It’s wonderful when Hollywood puts on its filthy boots and starts stomping down the back alleys, which it does so very rarely.
Detective Somerset (Morgan Freeman), a seasoned veteran of the streets, is teamed up with eager young detective Mills (Brad Pitt), whom has just moved to the big city with his wife, Tracy (Gwyneth Paltrow). There’s been a homicide, and a bizarre and grotesque one at that. An obese man has been found dead at his kitchen table. It appears he ate himself to death.
Days later another man is discovered dead, a wealthy white-collar, in a pool of blood in his office. A pound of flesh had been carved from his belly. Somerset and Mills piece together the clues, and Somerset realises they are dealing with two of the seven deadly sins; gluttony and avarice, which means there’s another five to go: sloth, lust, pride, envy and wrath. And who is this novel killer?
While Somerset researches further into the theology and mythology of the deadly sins in an effort to understand the modus operandi of "John Doe" (the name given to a dead person, or killer, whom is unidentifiable), Mills scoffs at the idea of trying to get inside the mind of the killer. It is this juxtaposition of personal ideals and the inherent personality clash between the two homicide detectives which provides the movie with much of its dark charm.
Director Fincher paints the city as a netherworld of perpetual rain and misery. Somerset is invited round to Mills apartment to have dinner with his wife Tracy and the trains thundering past every few minutes causes the entire apartment to shake. Somerset feels for the couple, strangely naïve in their frustration of the big smoke.
But it's the wicked playfulness and murderous agenda of the killer which is driving Somerset and Mills to the brink. Mills feels a need to prove something, a hotshot cowboy wrestling with an insolent and stubborn bull, whilst Somerset is aghast at the horrific nature of the crimes, trying with much difficulty to understand why there should be such inhumanity in the world. Mills simply thinks the killer is nuts and needs to be taken out, pronto.
It is inevitable there will be a collision of some kind, but the question is, what kind of collateral damage will there be when the crash does occur? And therein lies the movie’s inspired construct. I won’t say anymore. The film’s “beauty” lies in not knowing how the movie ends. If you’ve had the ending spoiled for you, I feel for you. Se7en came out twelve years ago, so chances are, you’ve seen the movie, but it is one of those Crying Game movies where people who’ve seen it should shut the fuck up when talking about the ending in front of those who haven’t.
There are some truly impressive set-pieces in Se7en, the special effects make-up work depicting the aftermaths of the murders is fantastic, the horrendousness of the “lust” murder (and we don’t even see that poor victim, only the appalling weapon!) is enough to give any person (let alone woman) nightmares for weeks! And the “sloth” sequence is damn freaky!
Darius Khondji’s cinematography is terrific, Howard Shore’s score is moody and effective (also of note is the opening and closing music provided by Nine Inch Nails) and performances are all good (Brad Pitt can often annoy me, but he delivers the goods here). Especially memorable is Kevin Spacey, in one of his early scene-stealing performances, as John Doe.
Se7en is CSI and Law & Order for cine intellectuals. It’s urban horror for the crime-heads. It’s almost Shakespearean in its tragedy. Se7en is sinfully good.
Here's the original theatrical trailer:
The superb screenplay by Andrew Kevin Walker unfolds with a stylish clarity, atmospheric intensity and visceral edge crime seldom seen in drama-buddy flicks. But it’s the hybrid noir-horror feel of the movie that makes it so damn interesting; a twisted morality tale sunken in the mire of sociopathic absolution and the sins of the good and pure. It’s wonderful when Hollywood puts on its filthy boots and starts stomping down the back alleys, which it does so very rarely.
Detective Somerset (Morgan Freeman), a seasoned veteran of the streets, is teamed up with eager young detective Mills (Brad Pitt), whom has just moved to the big city with his wife, Tracy (Gwyneth Paltrow). There’s been a homicide, and a bizarre and grotesque one at that. An obese man has been found dead at his kitchen table. It appears he ate himself to death.
Days later another man is discovered dead, a wealthy white-collar, in a pool of blood in his office. A pound of flesh had been carved from his belly. Somerset and Mills piece together the clues, and Somerset realises they are dealing with two of the seven deadly sins; gluttony and avarice, which means there’s another five to go: sloth, lust, pride, envy and wrath. And who is this novel killer?
While Somerset researches further into the theology and mythology of the deadly sins in an effort to understand the modus operandi of "John Doe" (the name given to a dead person, or killer, whom is unidentifiable), Mills scoffs at the idea of trying to get inside the mind of the killer. It is this juxtaposition of personal ideals and the inherent personality clash between the two homicide detectives which provides the movie with much of its dark charm.
Director Fincher paints the city as a netherworld of perpetual rain and misery. Somerset is invited round to Mills apartment to have dinner with his wife Tracy and the trains thundering past every few minutes causes the entire apartment to shake. Somerset feels for the couple, strangely naïve in their frustration of the big smoke.
But it's the wicked playfulness and murderous agenda of the killer which is driving Somerset and Mills to the brink. Mills feels a need to prove something, a hotshot cowboy wrestling with an insolent and stubborn bull, whilst Somerset is aghast at the horrific nature of the crimes, trying with much difficulty to understand why there should be such inhumanity in the world. Mills simply thinks the killer is nuts and needs to be taken out, pronto.
It is inevitable there will be a collision of some kind, but the question is, what kind of collateral damage will there be when the crash does occur? And therein lies the movie’s inspired construct. I won’t say anymore. The film’s “beauty” lies in not knowing how the movie ends. If you’ve had the ending spoiled for you, I feel for you. Se7en came out twelve years ago, so chances are, you’ve seen the movie, but it is one of those Crying Game movies where people who’ve seen it should shut the fuck up when talking about the ending in front of those who haven’t.
There are some truly impressive set-pieces in Se7en, the special effects make-up work depicting the aftermaths of the murders is fantastic, the horrendousness of the “lust” murder (and we don’t even see that poor victim, only the appalling weapon!) is enough to give any person (let alone woman) nightmares for weeks! And the “sloth” sequence is damn freaky!
Darius Khondji’s cinematography is terrific, Howard Shore’s score is moody and effective (also of note is the opening and closing music provided by Nine Inch Nails) and performances are all good (Brad Pitt can often annoy me, but he delivers the goods here). Especially memorable is Kevin Spacey, in one of his early scene-stealing performances, as John Doe.
Se7en is CSI and Law & Order for cine intellectuals. It’s urban horror for the crime-heads. It’s almost Shakespearean in its tragedy. Se7en is sinfully good.
Here's the original theatrical trailer:
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Comment by Norm
Consumption Malfunction
Equal and Opposite
Arses and Elbows
Footy Power
I've said it before and I'll say it again.
I just can't remember what.
That's right.
The script is what makes it great.
Norm
Comment by Miswanderlust
Killer Beats
Ramble On
Hipnotherapy
One of my favs.... love creepy Kevin Spacey!
Mis
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
another great review, brilliantly crafted...and...unlike sooo many 'eff-wits' calling themselves professional reviewers, your review does not give away the entire movie, blow by blow, and you courteously avoid mentioning the ending. That shows real class!
Nice work!
I nominate you for Horror Reviewer of the Year!
[cheers
fog
P.S. Oh yes nearly forgot; I agree, Seven has to rate up there, no way past, the shock ending of Sixth Sense, (I didn't catch on till it was revealed in that movie...bit dumb that day!).
Seven was amazing...and horrible...what an ending!!
Comment by Bryn
Horrorphile
fog, that's an interesting idea! cheers!
Comment by Mountain Fog
Infognito
Screen Trek
QUOTE ME NO QUOTES!
Thanks Bryn,
I have elaborated on that idea in a post, entitled;
The Golden Orb Awards!!!!
My idea of its name.
Check out the details and add to the list of Award ideas or comment as you see fit, I have written to Jon and am awaiting his response on how Orble will receive the idea.
But, the more support for the idea the better in convincing them!
cheers
fog
Comment by Michaelie
Flick Wit
Great review, Bryn.
What do you mean by
Hope you're not suggesting us girls are lily-livered!
Michaelie
Comment by Bryn
Horrorphile
Comment by Michaelie
Flick Wit
Comment by MelissaA
Fun Facts
Maybe If I hadn't heard anything and then gone to see it it would have been OK. Either that or I'm too desensitised to this type of thing anymore......????
Comment by Bryn
Horrorphile