Se7en (aka Seven, 7, Sept, Siete, Sieben, セブン, 七, 일곱 …) during a veteran detective’s final week a gruesome serial killer surfaces, whose work is based around the seven deadly sins. Despite being released in the mid-90s and framed as ‘modern’ this has a sense of timelessness; it’s puply and Noir to the core – especially Freeman’s character, who’s straight out of the 40s. This is just part of Fincher’s portrait of an extremely nihilistic vision of ‘downtown’ America – a nameless, timeless city characterised by sirens, rain, fear, vice and filthy, dilapidated buildings mirroring their residents. It’s a dingy look, but one that has subsequently influenced a lot of movies and TV (The US Killing as a prime example). Whilst the story takes a while to properly get going once it gains momentum it’s an unstoppable force -right through to the very last scene. It’s also remarkable that 20 years on it’s still effective, and shocking – which is a testament to Fincher’s directorial skill. Despite all of the larger than life blood and guts, Se7en is all about the minor details; everything helps to flesh out the characters and explain their behaviours – allowing you to pick out more details every time you watch it, which is what makes it a classic.
Hangover Part III (aka The Hangover 3): The wolfpack are reunited (again), and end up going on a road trip that takes a wrong turn (again). For what started out as a really good original film, this series has taken a rapid nosedive into sub-mediocrity. It doesn’t feel like a ‘Hangover’ movie: there’s no blackout, no fun, no shocks, no unorthodox situations, no Mike Tyson – the only attempt to tie it in is some forced nostalgia; inserting shots from previous films. The cast are OK, but all look like they’d all rather be elsewhere – and the rent-a-John–Goodman cameo is such uninspired casting. I don’t understand how someone managed to spend $103M on a film with no real stunts, or heavy CGI. The first film worked because it was equally shocking and funny, the second film was OK because it was mostly shocking; this one feels empty in both tanks – timid story, and simply not funny enough to be a comedy. Ken Jong does something ridiculous; Zach Galifianakis says something silly/inappropriate; Ed Helms screams in bemusement; and Bradley Cooper stands around looking broody – repeat x100. Sadly, this feels more like a bunch of contractual obligations than a film.
Hangover Review (7.5/10)
Hangover Part II Review (6.5/10)
The Girl with the Dragon Tattoo: essentially an English language, scene for scene, character for character and detail for detail re-make of the Swedish original film adaptation. The over-stylised James Bond-esque opening credits paired with NIN industrial techno Led Zep remix are fantastic, and promise something fresh/new; unfortunately the rest of the film fails to deliver as it copies almost everything from the original. Most annoyingly, it’s still set in Sweden and full of Europeans talking in ‘svee-deesh’ – it’s like watching a professional dubbing of the original. Character-wise, Daniel Craig is good, but Nyqvist has the edge as the flawed idealist journalist; Rooney Mara is very watchable as Lisbeth Salander, but it feels like a good imitation of Rapace’s portrayal. In all honesty, both pairs of boots were almost impossible to fill. The rest of the cast deliver, but again, have very little room to put any new stamp on the characters. As a stand-alone film, it is good (although it would have been hard to mess up sticking to the original). All is not lost though, as the 2nd/3rd Swedish films weren’t perfect, and have far more room for improvement. As someone who saw and loved the original, this lacks any of the impact that the modern twist on the classic murder mystery had – this just feels redundant and unimaginative. Expected a something better from a director of David Fincher‘s calibre.
Review of the original