Se7en

Fincher is depressive again, in the way he only knows how. The murders are disgusting, especially the first one with the fat man is not very nice to see. The cops don't seem to know what a light switch is, so they keep shining their flashlights to make the most of the gloomy twilight. The perpetual rain doesn't help the mood, either, Scott knew that in Blade Runner. Depression alternates with depression and the interesting, gloomy screenplay plays into Fincher's hands, he is a master depression, we all know that. Add to this an irresistibly loathsome villain played by Spacey and a truly unusual ending for Hollywood and we get a clear five-star rating. (05/11/2003)

An unparalleled experience, a delight. Those who love dark crime thrillers about serial killers will adore Se7en, and so will do those who hate this kind of "entertainment" and laugh at monotonous scripts and shallow endings, because Se7en will shock them, suck them in, make them pant like a dog at the end, and inevitably teach them to love the genre... Impeccable direction that doesn't let up, teeming with creative ideas, and through the all-encompassing thick rain gives us a unique glimpse into the most chilling visual and narrative darkness ever seen on film. A perfect script, believable in its psychology and portrayal of the central characters' relationship, highly clever and subtle in its dialogue and non-violent reflection on the horrors of a society full of violence and murder, and finally shocking and surprising not only in its course, in the agonizing nature of the murders and the flawlessly sketched progress of the investigation, but above all in its twist, so unexpected and, thanks to Fincher's direction and shot after shot, so gripping that I wanted to stand up and scream loudly at the screen during the first two screenings. Perfect cinematography that always finds the right angle (I'm absolutely fascinated by the overhead shot of Pitt climbing a hanging ladder), an amazingly chilling soundtrack and a perfect bet on the eternally malfunctioning switches and the good old flashlights that accentuate all the blackness. A perfect film that cannot and will never be surpassed. 100% is not enough :) (05/02/2011)

Alongside The Silence of the Lambs, this is the most powerful psycho-thriller ever. Seven is a gem of the genre in which every filmmaking component is stretched to the absolute limit, along with the viewer’s nerves, emotions and psyche. Darkness that will take your breath away and keep you up at night. (05/06/2006)

Indeed, a perfect essay on the themes of "modern civilization and its morbid brutality". Fincher convinced so much through this film that he is one of the creators with a distinctive style and, above all, a talent to make a dramatic film with an idea. The parallel with Dante and classical European literature is largely simplistic, but the message of Seven to the viewer is all the more overwhelming. It is hard to resist characters that draw you into the action so much thanks to the excellent acting portrayal that the end of the film is also the viewer's revelation and a painful catharsis. Morgan Freeman's role in particular is one of the best ever created in the thriller genre. And I have a feeling that Seven has reached the limit of the genre. We live in a time that gives the concept of sin a whole new dimension. Seven is the perfect illustration of this... (02/28/2004)

A slowly flowing depression with a flood of rain, darkness, and uncertainty. A brilliant madman in the background, a silent and slightly shy police veteran, a young hard worker by his side, and his saddened wife. A fatal final half-hour and a finale that seems simple in the first second but gains strength and resonates in the viewer long after the movie ends. I highly recommend a second viewing, where several hints towards the punchline can be found. Jigsaw and other plagiarists can go laugh at themselves. (03/19/2006)