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Director David Fincher's dark, stylish thriller ranks as one of the decade's most influential box-office successes. Set in a hellish vision of a New York-like city, where it is always raining and the air crackles with impending death, the film concerns Det. William Somerset (Morgan Freeman), a homicide specialist just one week from a well-deserved retirement. Every minute of his 32 years on the job is evident in Somerset's worn, exhausted face, and his soul aches with the pain that can only come from having seen and felt far too much. But Somerset's retirement must wait for one last case, for which he is teamed with young hotshot David Mills (Brad Pitt), the fiery detective set to replace him at the end of the week. Mills has talked his reluctant wife, Tracy (Gwyneth Paltrow), into moving to the big city so that he can tackle important cases, but his first and Somerset's last are more than either man has bargained for. A diabolical serial killer is staging grisly murders, choosing victims representing the seven deadly sins. First, an obese man is forced to eat until his stomach ruptures to represent gluttony, then a wealthy defense lawyer is made to cut off a pound of his own flesh as penance for greed. Somerset initially refuses to take the case, realizing that there will be five more murders, ghastly sermons about lust, sloth, pride, wrath, and envy presented by a madman to a sinful world. Somerset is correct, and something within him cannot let the case go, forcing the weary detective to team with Mills and see the case to its almost unspeakably horrible conclusion. The moody photography is by Darius Khondji; the nauseatingly vivid special effects are by makeup artist Rob Bottin, best known for more fantasy-oriented work in films like The Howling (1981). ~ Robert Firsching, Rovi
Features
4 commentaries featuring director David Fincher, actors Brad Pitt and Morgan Freeman and other collaborators on the film
Additional/extended scenes
Alternate endings
Exploration of the opening title sequence from multiple video angles with various audio mixes and 2 commentary tracks
Production design and still photographs with commentaries
The notebooks: full motion video details "John Doe's" writings
Mastering for the home theater: includes alternate angles and audio between original and new masters
William C. Gerrity Arnold Kopelson Phyllis Carlyle
Composers (Music Score)
Howard Shore
Co-Producers
Stephen Brown Nana Greenwald Snaford Panitch Richard Saperstein Lynn Harris
Editors
Richard Francis-Bruce
Screen Writers
Andrew Kevin Walker
Set Designers
Clay Griffith Elizabeth Lapp Lori Rowbotham Hugo Santiago
Others
Art Director - Clay Griffith
Art Director - Gary Wissner
Associate Producer - Michele Platt
Casting - Billy Hopkins
Cinematographer - Darius Khondji
Composer (Music Score) - Howard Shore
Costume Designer - Michael Kaplan
Executive Producer - Gianni Nunnari
Executive Producer - Dan Kolsrud
Executive Producer - Anne Kopelson
First Assistant Director - Michael Alan Kahn
First Assistant Director - Nilo Otero
Makeup - Jean A. Black
Makeup - Rob Bottin
Makeup - Monty Westmore
Makeup - Michael White
Production Designer - Arthur Max
Sound/Sound Designer - Willie D. Burton
Special Effects - Dan Cangemi
Stunts - Chuck Picerni, Jr.
Stunts Coordinator - Chuck Picerni, Jr.
With its old cop/young cop pair trailing a brilliant psycho, Seven (1995) could have been just another serial killer movie. Director David Fincher's prodigious visual talent for choreographing an atmosphere of grim tension and evocative, partially hidden horrors, however, made it a disturbing foray into human darkness. From the jittery, unsettling credits sequence on, Seven reveals just enough of the grisly murders signifying the Bible's deadly sins, and the extremity of killer John Doe's devotion to his project, to allude to unspeakable terrors without actually showing a lot of violence. Circumspect old-timer Morgan Freeman's dedication and tyro Brad Pitt's fury both mirror the telling responses of their characters, and reveal signs of how tenuous the line is between cop and killer. Enhancing the aura of universal, unfathomable mystery shrouding Seven's unnamed city, Darius Khondji's cinematography creates a neo-noir urban murk of permanently rain-swept streets and deep interior shadows wanly pierced by flashlights that allow Doe to literally hide in plain sight from the audience before he turns himself in. Though the film divided some critics over whether it was stylishly rote depravity or tour de force filmmaking, Seven became a surprise smash, redeeming Fincher after his ill-fated debut feature, Alien 3 (1992). ~ Lucia Bozzola, Rovi
Kevin Spacey : Best Supporting Actor - National Board of Review, 1995
Kevin Spacey : Best Supporting Actor (Runner-up) - National Society of Film Critics, 1995
