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Set in a hellish vision of a New York-like city, where it is always raining and the air crackles with impending death, the movie revolves around two homicide detectives' desperate hunt for a diabolical serial killer who is staging grisly murders, choosing victims representing the seven deadly sins.
Were it not for the gravity and thoughtfulness of Morgan Freeman's performance as a retiring policeman, and the third-act appearance of its bizarre villain, Seven would be unendurable.
The two actors misfire here: Freeman is so low-key he's almost drowsy, and Pitt jumps around like a chihuahua to no effect. It doesn't help that the sound mix is so murky that much of their dialogue sinks into the murk.
For nearly every movie about a sadistic criminal that would come after, some part of us recalls the words of Detective Somerset, who may be one of the first men in mainstream cinema that dares to ask why we easily dismiss serial killers as lunatics.
There's none of the humor that takes the sting out of slasher movies, and certainly none of the psychology and depth that made The Silence of the Lambs such an intellectual thriller.
Although the story isn't original, it's powerfully directed by David Fincher, and Morgan Freeman gives another of his superbly understated performances.
The reason to see Seven, which is decidedly not for the faint of stomach, is not for the punishment of sin, but the many virtues of Freeman's contribution.
The investigation and the clues that lead to the murderer are well thought out and continually provocative. As a narrative, the film is quite involving.
Cria um mundo opressivo, cinza e angustiante que parece determinado a constantemente lembrar seus ocupantes de que a vida é cruel, injusta e sem sentido.
Unfortunately, most of the scenes in Seven are unlikely, which means that by the end of the movie the duo is battling not just an insane killer but an off-the-wall screenwriter.