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An insomniac office worker looking for a way to change his life crosses paths with a devil-may-care soap maker and they form an underground fight club that evolves into something much, much more...
Director:
David Fincher
Stars:
Brad Pitt,
Edward Norton,
Helena Bonham Carter
As corruption grows in 1950s LA, three policemen - the straight-laced, the brutal, and the sleazy - investigate a series of murders with their own brand of justice.
A Russian teenager living in London who dies during childbirth leaves clues to a midwife in her journal that could tie her child to a rape involving a violent Russian mob family.
A film about two homicide detectives' 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" sermonizes to Detectives Sommerset 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 Sommerset researches the Seven Deadly Sins in an effort to understand the killer's modus operandi while green Detective Mills scoffs at his efforts to get inside the mind of a killer... Written by
Mark Fleetwood <mfleetwo@mail.coin.missouri.edu>
Mills and William Somerset discuss the book "Of Human Bondage", which was written by W. Somerset Maugham. See more »
Goofs
When Dective Mills shoots John he has a 1911 style gun which is a single action pistol, meaning you have to cock the hammer to shoot the first shot, which he never does. See more »
Quotes
[first lines]
Detective Taylor:
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.
William Somerset:
Yeah, just look at all the passion on that wall.
See more »
Crazy Credits
Credits roll down instead of up, contrary to common movie procedure. See more »
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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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.