Seven is an atmospheric thriller that expertly dives into the darker corners of human nature while keeping you on edge with its gripping narrative. Morgan Freeman and Brad Pitt lead with contrasting yet complementary performances, Freeman as the world-weary detective and Pitt as the impulsive rookie. Their chemistry adds depth to the story, grounding it in realism even as the plot explores the grotesque. The pacing is deliberate, letting the tension simmer before delivering gut-punch moments that linger long after the credits roll. The film’s visual tone is a masterpiece in itself, with its dreary, rain-soaked cityscape enhancing the oppressive mood. David Fincher’s direction is meticulous, drawing you into every scene with his use of lighting, shadows, and a haunting score. Kevin Spacey’s restrained yet chilling presence elevates the third act, leaving you questioning morality and justice in ways most films wouldn’t dare. Every detail feels purposeful, from the unsettling crime scenes to the nuanced character development. If you’re a fan of dark, thought-provoking thrillers, Seven is a must-watch. It’s not just a story about a hunt for a serial killer; it’s an exploration of humanity’s flaws and the consequences of obsession.

Morgan Freeman is the veteran detective "Somerset" who is saddled with the newly married rookie "Mills" (Brad Pitt) and sent to investigate quite possibly the most ghastly murder scene cinema has ever produced. A man has been force-fed beans until he, quite literally, burst! A missing slither of kitchen floor lino suggests the fridge had recently been moved and behind that they find a clue - one that suggests this man had committed one of the deadly sins (gluttony) and therefore it's reasonable to assume that six more, equally heinous, killings may follow. Indeed when they start to doc just that, both detectives must hastily learn to work together - despite their contrasting approaches to police work - if they are to piece together the evidence. What makes matters worse for the pair, is that they begin to suspect that they are the metaphorical ball of wool for the killer's cat. They get closer and closer, but are always just that little bit late as this self-appointed weapon of god seems to be being wielded with every more horrific killing. David Fincher allows both actors here to develop this mystery compellingly, with a sparing but potent dialogue and an almost perfectly paced and scored progress as we all know what must come last - but never will we anticipate just how the coup de gras will be delivered. This is one of these superior crime dramas that leaves a little more to think about each time I watch it. Really good.

Some creative kills and a decent atmosphere fail to obscure a vapid nihilism, rather meandering plot with a twist that makes little sense, and some quite nasty misogyny. Basically two or three admittedly masterful performances away from being nothing more than a padded ultra-violent bad Law and Order episode. The Brakhage-inspired title sequence is orders of magnitude better than the film itself. The hodgepodge of contextless references to classic literature doesn't make this any cleverer, either. This is basically everything that people who don't watch "film bro movies" unfairly think all modern thrillers are like. Has aged horribly as well.