Movie from 1995 starring Morgan Freeman, Brad Pitt, Kevin Spacey and Gwyneth Paltrow, about two homicide detectives (Freeman as William Somerset, a detective who is about to retire, and Pitt as David Mills, Somerset's replacement) who are investigating bizzare murders, which turn out to be linked to the Seven Deadly Sins: pride, greed, envy, wrath, gluttony, lust and sloth.

The movie is very dark, has some shocking scenes, and not a happy ending. It's far from your average Hollywood movie.

This movie is something of a masterpiece, and it awoke something in me and my friends of the time that hasn't been put to sleep since. The beauty and terror of this movie is that it's main skill is in the horror of the implied. You never get to see the killer kill anyone, you are only left to piece together everything with your own imagination, and it is so lovingly presented that you cannot fail to be touched by the sickening tragedy of each and every murder. You feel revulsion and sympathy for the Gluttony, cynical emptiness for Greed, Distaste and Shock for Sloth, and a spectrum of other emotions for each of the rest of the murders.

Kevin Spacey is superb in his role as the understated and maniacal psycho. The excellent score by Nine Inch Nails guy Trent Reznor fits the mood of the movie perfectly. The Titles and the Credits are both done in a way that discomfits you from the very start to the very end. Somersets, slow, methodical, eloquent voice dripping like molasses eases you in to the pain and misery and dejection felt at each of these. To offset all this tragedy is of course Mills (Pitt) whose energy and enthusiasm, dedication, and sheer optimism carry the movie, and inject life into it's almost serene cinematography.

The movie plays on itself, from the skin in the titles, to the lenience of the killer being explored near the end. The pain and suffering of 'innocents' brought into question by cold hard analysis and a pace that reeks of inevitability. There are also all the hallmarks of a classic in here, the lack of any distinguishing marks, it could be any American city we are seeing. The bleak view of inner city life, and the harsh background noises of everyday existence. The family troubles, and emotional tensions creeping through people's lives. The attention to detail from the 'cut kit' in the flat through to the layout of the desk in the office. The classic character types, the tension between men and women, young and old.

The discipline shown by Hollywood in making this movie is staggering: No romance. No cuddly Sidekick. No Explicit violence. No cute kids that get killed for fun. No happy ending. Moral ambiguity. The killer could have been right after all, he did win. Or did he? We don't know we are left to draw our own conclusions, about what was in the box, whether it was wrong to pull the trigger, what would we have done? Is it love or hate? Who knows.

The movie is superb, and has been copied several times, in style and in content, the only thing coming close in my opinion is Fight Club, but even that lacks a certain something to make it into a classic, which is something that se7en undoubtedly is.

For those of you who love the dark aspects of Se7en, I highly recommend reading screenwriter Andrew Kevin Walker's first draft of the movie. When AKW wrote this movie he was stuck working in a Tower Records and living in a shitty apartment. In writing this script he let loose all of his anger and hatred for the city, in fact he has been quoted as saying "Seven was my hate letter to New York." The first draft is much darker than the film, including more backstory into the life of John Doe and a completely different ending taking place inside a church.

Log in or registerto write something here or to contact authors.