Se7en
Many a times a movie can appear to be (and be marketed as) something itâs actually not, a tactic that is known to backfire when audiences become dismayed that what theyâre viewing is not the movie theyâve come to see (Clint Eastwoodâs Oscar Bait Million Dollar Baby comes to mind), but sometimes it works to absolute perfection, as it does with this 1995 film by David Fincher, even going so far as having a major star play a large role without any billing or notice given to the viewer. Appearing on the surface to be a serial killer detective story, as the movie runs on and spins its magic, we rapidly find out that what weâre watching is actually a serious, dyed in the wool horror movie, and moreso, probably one of the single greatest and most scarily effective horror movies of all time. The concept of the extremely twisted but still very, very human serial killer came into vogue with the release of Silence Of The Lambs and the rise of Hannibal Lecter and would continue here, but whereas that classic was more about the ins and outs of the investigation itself, this film is more about showing perhaps the most gruesome aftermaths of murders ever shown on film along with the absolutely horrifying revelations about the killerâs motivations. Apparently we have a religious nut / freak serial killer, but much of that is just on the surface, as he is using the motif of the seven deadly sins to justify his actions and display a motive, all while constructing a âmasterpieceâ that he intends for the world to learn about. The two police detectives heading up the case are a veteran / upstart combo played by Morgan Freeman and Brad Pitt, and at times itâs hard to figure out which of the two of them is more interesting. Freeman has always garnered tremendous respect as an actor, but this may still be his best, most nuanced performance, a longtime homicide detective whose on the job experiences have instilled in him an attitude that gives cynical a new meaning. Freeman has adopted the worldview that the planet he lives on has become so sick and twisted and depraved that in the end the best solution is to turn your back on it all, get out of the city, and live the quiet life in isolation, which he will do as soon as he reaches retirement. The kicker is that this homicide cop who has seen it all soon realizes that with these particular murders, and the meticulous, exacting methods being put to use along with intricate, years long planning is not like anything heâs ever seen before, moving this brilliant cop to suddenly be instilled with a fear heâs never had before, even leading him to go so far as to be asked to be removed from the case simply because he does not WANT to go face to face with this particular murderer. Pitt, on the other hand, is the epitome of the chipper young go getter (albeit with a foul mouth) who is the polar opposite of Freeman in his philosophy, feeling that youâve gotta get out there in the world and take on any challenges that await, readily dismissing the killer as merely a âwhackoâ while Freemanâs years of experience portend that theyâre up against something much more sinister. And they are, a methodical monster who safe to say is so highly intelligent that he never truly loses the upper hand all the way up to the final frames. The real kicker though, is the revealing of the killerâs identity, done in such a way to create a true âholy shitâ response from the viewer, simply because of the fact that the actor himself is such a big star that (unless youâve had the movie spoiled for you) youâd have no idea that he was actually in the movie because his name does NOT appear on any posters, advertising, or even the opening credits. Nonetheless, when this Academy Award Winner is finally brought onscreen at about the ž mark of the film, he proceeds to completely take over and legitimately give one of the best performances in his career, turning the killer into a kind of Bible Thumper gone berserk, but also living up to the incredible buildup weâve experienced by viewing his handiwork first hand, thus setting up the big finish itself. Gwyneth Paltrow (Pittâs wife at the time) is also brought in as his movie wife, a gentle soul who sweetly befriends Freeman because she can tell heâs an older, experienced mentor to her husband and sees him as someone she can open up to. Which then brings us to the tone of the film itself, right from the getgo a dark, moody piece which only gets worse as the film goes on, with most of the âsinâ murders quite literally being too horrific to describe in detail, and the bleak, downbeat, nihilistic nature which is matched by Freemanâs own outlook on things and serves to set up the ending of the film. Reportedly, a lot of big name talent passed up on the chance to do the film after reading the script and deciding that the story itself was âevilâ, but that just goes to show how powerful a HORROR movie this really is, since it can be argued that any film in that genre has that evil element, and a big budget, big studio movie with major stars is something the genre is usually beneath, but not here, with dark, moody cinematography that fits the urban atmosphere like a glove. And then thereâs that ending. My God. The killer reveals the ultimate details of his secret plan and how it involves Freeman and Pitt, and the haunting, heartbreaking revelation of that plan in such a way that the viewer might have some sleepless nights over the idea that anybody could ever even DREAM up a character so evil. And the chilling aftereffect that can make your bones rattle drives home the point that we have a serious masterpiece on our hands here, a movie where our detectives go from tracking their prey to risking losing their minds and losing their souls. Where the horror of the big city is only none too prepared for the horrors of one manâs sick, deranged mind. And the horror genre gets one of its all time gruesome classics, one whose lasting effect can be understatedly described as unforgettableâŚ
10/10