The Los Angeles Times film reviews spread indiscriminately across the North American continent like a heat wave, but Nicholas's articles were more of an editorial than a film review, which is an important reason why the Los Angeles Times was willing to devote an entire page.

In terms of professional film criticism, the famous Roger Ebert is obviously also full of expectations, since the emergence of "pulp fiction", this top film critic has been a little more interested in Hugo, not in the professional aspect - in terms of professionalism, Roger has always been impartial, good works are good, bad is bad, this is not directly related to the actor, he must remain objective; It is a personal curiosity, and Hugo's choice of work is always surprising and always full of fun.

Roger wrote a film review for the "Seven Deadly Sins" for the first time, and this article called "The Birth of a Great Work" not only expresses Roger's attitude from the title, but also gives a three-and-a-half-star evaluation and four-star recommendation with a perfect score of four stars, which shows Roger's respect for the "Seven Deadly Sins".

"It's a rainy city, and the old detective Samosai wears a rainproof trench coat and a round hat; Mills, a rookie who has just been transferred here, is bald and rainy, and it seems that he will never get old. There was a homicide on the first day of the pair's partnership, with the fat deceased soaked headfirst down in a plate of pasta. Samose later returns, the light of a flashlight wandering through the filthy apartment, picking up mountains of pasta sauce. No matter how fat a foodie is, he won't turn his home into a food storehouse.

This horrific murder set the tone for David Fincher's 'Seven Deadly Sins', one of the darkest, coldest, most heartless, and desperate films ever produced by a major Hollywood studio. The torrential rain continued, and the murders followed one after another, and the murder scene appeared in distorted blood letters, and the refrigerator in the fat deceased's home had 'gluttony' written on the back. After two murders, Samosai realizes that they are facing a serial murderer who will punish the victim for the 'seven deadly sins'.

It's a boring and cliché opening, like the hugely popular selection of Agatha Christie's detective novels of the twenties. But now it's the nineties.

The only difference is that the stage of the 'Seven Deadly Sins' is not an idyllic villa of high society, but the daily life of two criminal policemen - one of them is tired of the ugliness of the world; The other was unprepared. Interestingly, solving the case is not the focus of this film, because the two detectives spent countless scheming and failed to arrest the murderer, and in the end, the murderer voluntarily surrendered, which announced that their ordeal came to an end.

Relatively speaking, it is more like a discussion of human nature, with the old detective experiencing the depravity and crime of falling into hell, and the young man pitifully undergoing an evil trial.

Before officially commenting on this film, one tidbit must be mentioned. In the original internal preview version of the film, the desperate ending made the audience who participated in the test screening very dissatisfied, so that David Fincher had to add Ernest Hemingway's words in a voiceover at the end to give some small hope. But the original ending is still preserved intact, making Hemingway's phrase a sneer.

The film was supposed to end after Samose's 'I'm not going far,' because Hemingway's comfort was barely felt.

Samose's mystery and restraint permeate the entire production, and it is also the best performance of the actor's career. The actor has a temperament that is not angry and arrogant, rigorous and steady, and I don't remember him playing any weak roles. He understands the police officers who work in the worst part of the city. Observe how much ugliness and injustice you have witnessed - but you have to swallow your anger.

Alone in a shabby apartment, with bookshelves nailed to the walls, hypnotized with a metronome, he never married—though at one point he was very close, he was a lonely man, watching the chaos and misery of the city, and his own struggles and struggles, with a helpless but uncompromising eye.

Realizing that the 'Seven Deadly Sins' was the main line of the murderer's crime, he made a choice that most people would not consider: he went into the library to find the answer, and he consulted Dante Aligheri. Alighieri's 'Purgatory', John Milton's 'Paradise Lost', Geoffrey. Chaucer's Canterbury Tales (the. terbury。 tales）’。 This is not to introduce the background to the audience, but it is a common technique in thriller and suspense movies to use classic literature to set off the unsettling atmosphere. Finch also shows Gustave Doré with a flashing shot. dore) for the 'Divine Comedy (divina. media)'s illustration of Spider Woman.

When it comes to the 'Seven Deadly Sins,' Samosey appears to be knowledgeable, while Mills is ignorant.

This approach is similar to William Friedkin's william. Friedkin's 'The Exorcist. exorcist)' is the same as Jonathan Demmy's 'The Silence of the Lambs'. The otherwise mediocre crime-solving movie has raised its realm with eerie myths and symbols.

'The Seven Deadly Sins' is not a profound or significant film, but it gives the illusion of that. While all the mainstream thriller movies put entertainment first, this movie wants to shock the audience, which is similar to 'The Silence of the Lambs'. The character-savvy appearance of Samose brings depth and meaning to a crime that the killer sees as a moral statement.

Of course, the borrowing records of the Guò library in Samoseton unexpectedly found the address of the murderer. But on closer thought in hindsight, it should have been a deliberate clue from the other party - because he certainly didn't get the inspiration to kill out of the blues in the library. The killer was intent on making Samosa and Mills discover.

The modus operandi of the five homicides varied. The murderers were clearly carefully designed and painstakingly - one of which even took at least a year. However, the ultimate killer move he devised in the film* must have been the result of a recent improvisation. The "Seven Deadly Sins" mercilessly presents the horror of the murder to the audience, and the flashing footage is even more chilling. The audience can only understand the method of committing the crime through the discussion between the two people, even though the bag in the medical examiner's hand does not need any explanation. Finch makes the viewer feel just the right amount of discomfort and then quickly moves the camera away.

The murderer of the 'Seven Deadly Sins' apparently took his crimes as a warning to the world, and he showed this attitude from the moment he appeared. Mills told him that the 'seven deadly sins' would soon be forgotten, but he thought he would be immortal. Because this is the masterpiece that he has spent his whole life planning. The only uncertainty is how he will conclude this declaration. The people he killed were all executed for the crimes they 'committed'. What are the lessons of this? To warn the audience?

Shamosey and Mills represent the classic pairing mode of new recruits plus veterans. Andrew Kevin Walker writes dialogues that add life to the pattern with rich detail and Samose's succinct lines. Mills looked a little thin: a young man, he didn't care about Samose's experience and caution. It is his wife, Tracy, who brings a touch of human warmth to the film, and although she does not have many scenes, the audience knows that she loves and cares about her husband, and at the same time is extremely wise to invite the lifelong unmarried Samosai to dinner, and it does not hurt to have a good relationship with someone who can help and teach her husband. The audience thinks that Tricy is just the protagonist's wife, a flattened character who is used to make up the numbers. But she'll save her main event for last.

The more we think about it, the more we will admire the film's clever layout strategy.

The most subtle part of this movie is that the murderer surrendered to the police 20 minutes before the end of the movie, and has been in charge of the whole film ever since. When the 'Seven Deadly Sins' was in the early stages of promotion, the commercials, posters, and opening credits all hid the actor's life, so I won't make this exception. Which actor plays which role is still waiting for the audience to find out for themselves.

The actor has a huge mission, he represents evil itself, and like Hannibal, his role must be played by a powerful actor. Because he is not only a bad person, but also exhibits a complex and pathological personality. Look at his face, calm, calm, sneering, and complacent; Listen to him, wise, wise, clear, and the head is the way; Pay attention to his feelings, calm, fearless, confident, and winning. He is the key to the success or failure of this movie, and the slightest deviation will be wasted. But he didn't go wrong.

The last twenty minutes of the film are undoubtedly the essence of the whole work, a one hundred and twenty minutes of work, in which the real protagonist is just appearing at the age of 100 minutes, which reminds us again of the 'Silence of the Lambs'. It doesn't matter, though. Because twenty minutes is enough for both the end of the murderer's mission and the superb performance of the actors.

The actor's appearance completely changed everyone's previous perception of a psychopathic murderer, and he successfully completed his transformation from serial killer to preacher to atonement. No one but the actor is up to the task, and of course, maybe Anthony Hopkins can.

In a short period of twenty minutes, the actor injected soul into the film, and he gave the most wonderful performance of his career, and the seemingly unremarkable, featureless performance inadvertently penetrated into the soul, even after watching the movie, as long as you close your eyes, that calm and calm face will emerge, and that chilling taste makes the murderer a symbol remembered in film history. This is another time after the 'Silence of the Lambs'.

'The Seven Deadly Sins' is David Fincher's second feature film after the Alien 3 fiasco, and he's only twenty-nine years old, and he infuses the film with a subtle touch, with invisible dust wafting around the room, highlighting the light column of the flashlight and the pitch black environment, I don't know why, but it's not a bad thing. I remembered f. w。 Murnau (F. w。 In a 1926 shot of Faust, Murnau, Satan spreads his black cloak and envelops the tiny village. That's the way Fincher created the look in the Seven Deadly Sins.

This is a great work, not only because the film gives enough depth and meaning to social issues, but also because the actors give a performance in the film that is enough to go down in history. As for the charm of the actors' performances and the truth of the characters, it is still up to the audience to go into the cinema to discover them. ”