A film about two homicide detectives' (Morgan Freeman and (Brad Pitt desperate hunt for a serial killer who justifies his crimes as absolution for the world's ignorance of the Seven Deadly Sins. The movie takes us from the tortured remains of one victim to the next as the sociopathic "John Doe" (Kevin Spacey) sermonizes to Detectives Somerset and Mills -- one sin at a time. The sin of Gluttony comes first and the murderer's terrible capacity is graphically demonstrated in the dark and subdued tones characteristic of film noir. The seasoned and cultured but jaded Somerset researches the Seven Deadly Sins in an effort to understand the killer's modus operandi while the bright but green and impulsive Detective Mills (Pitt) scoffs at his efforts to get inside the mind of a killer... Written by
Mark Fleetwood <email@example.com>
As Mills and Somerset are driving to the Sloth victim's apartment, it's clear that the scene in the car was shot on two separate occasions, with the first half of the drive on one day, and the second half on another day. Brad Pitt's side burns change significantly from thicker with a pointed edge, to a bit shorter without a point and somewhat thinner. Also the seat belt next to Pitt changes position with the buckle insert visible in the first half, then completely gone in the second. Other little difference's are Pitt's white shirt collar, and the brim of Freeman's hat. See more »
Neighbors heard them screaming at each other, like for two hours, and it was nothing new. Then they heard the gun go off, both barrels. Crime of passion.
Yeah, just look at all the passion on that wall.
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The opening credits are done over broken, blurred images of John Doe removing the skin from his fingertips and sewing it into his journals. See more »
Superbly crafted drama delves into darkest corners of the psyche
David Fincher's bleak, relentless, and ultimately terrifying crime thriller Seven transcends other films of the genre with incredible plotting (the sort Hitchcock might employ were he alive and making films in the 1990s) and scalding intelligence. With only a small handful of minor flaws -- the overly familiar retiring cop/young cop pairing; the awful "I'm taking you off the case!" cliche seemingly required by the genre; one giant lapse in logic in the downward spiral toward the conclusion that cannot be revealed without ruining the script's gruesome surprise -- Seven typically keeps its viewers imprisoned in their seats with a combination of morbid fascination and abject fear. Despite attempts by studio executives to alter Andrew Kevin Walker's ending, the filmmaking team prevailed and audiences experienced that rare treat of mainstream cinema: an uncompromising vision.
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