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Andrew Kevin Walker
Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Kevin Spacey, R. Lee Ermey, Richard Roundtree, John C. McGinley, Reg E. Cathey, Peter Crombie, Julie Araskog, Julie Araskog
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Bitter, Beautiful Reality Pill
Favorite Movie Quote: "I don't think you're quitting because you believe these things. I think you want to believe them because you're quitting."
I keep wondering when people who make horror movies are going to pull their heads out of their collective asses and simply hire David Fincher to save their genre from the pathetic gore-fest that it has become. If you're wanting to make horror movies yourself, at least do yourself the service of watching Seven. Don't try to imitate it - directors that try to imitate embarrass themselves - but if you don't think that you could make a movie as disturbing as Seven, don't waste your time playing in the horror or suspense genres. Maybe try corporate videos or porn.
Seven, as we are subtly clued into from the opening conversation between jaded intellectual Detective Somerset (Morgan Freeman) and idealistic transfer Detective Mills (Brad Pitt), covers what are supposed to be the final seven days of Somerset's career. The routine of breaking in the new guy, Mills, takes a turn when the two set upon their first crime scene together and discover the first of what Somerset is sure will be a series of killings based on the seven deadly sins. Somerset wants the case reassigned to someone other than himself and Mills, believing that it should not be their last and first case, respectively. Though Mills is reassigned and Somerset works the first crime alone, their cases are soon, as are they, intertwined.
Seven is not your traditional young cop/old cop fare, and I can only imagine what people were thinking that went to the theater expecting to see Lethal Weapon or Die Hard. Mills and Somerset plod through the wreckage of destroyed lives, as they "[collect] all the evidence in the unlikely event that it will ever be needed in a courtroom". Unlike the lies that people like to tell themselves at night so they can sleep, the police-work in Seven is never about prevention. The damage is done, the glass is shattered; Seven is about dealing with that reality without going insane.
Seven doesn't stoop to shoot-outs and chase sequences (though it has one of the more realistic), nor comfortable little platitudes about how everything will be all right. As it inflicts it psychological violence forcing people to deal with the inevitability of the outcome, it swings the microscope to the audience about how we view the world and how we deal with what we perceive.
This is one of those films that you can't speak of in specifics unless you're sure the reader or listener has witnessed it for fear of spoiling the affect, but Seven is what filmmaking is all about. Better than any movie that I'm aware of, Seven illustrates what Freeman says in voice-over at the film's conclusion: "The world is a beautiful place and worth fighting for. I agree with the second part."
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Aug 29, 2007 2:27 AM
|You're all broken in, baby. That wasn't so rough, now was it?|
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