Review: Seven Pounds (2008)

Seven Pounds (2008)

2.0

DRAMA
U.S. Release Date: 12/19/08
Running Length: 118 Minutes
MPAA Classification: PG-13 (Profanity, Sexual Situations)
Theatrical Aspect Ratio: 2.35:1

Cast: Will Smith, Rosario Dawson, Woody Harrelson, Michael Ealy
Director: Gabriele Muccino
Screenplay: Grant Nieporte
Cinematography: Philippe Le Sourd
Music: Angelo Milli
U.S. Distributor: Columbia Pictures

Review by: Carter Moulton

12/21/08

Seven Pounds is manipulative and contrived, but finds some level of emotional satisfaction thanks to the chemistry between Will Smith and Rosario Dawson. Director Gabriele Muccino (who directed Smith in the uplifting The Pursuit of Happyness) turns the film's already far-fetched story into a complete mess by jumping back and forth through time. If we were told why Ben Thomas (Will Smith) had a disgusted look on his face during the entire movie, we might emotionally connect and care about his crusade. Character connectivity is crucialIn a film of this nature, and we don't get much of it with Seven Pounds.

Smith plays an IRS Agent who is on a spiritual quest to “drastically change” the lives of seven strangers. These strangers include Emily Posa (Rosario Dawson) and Ezra Turner (Woody Harrelson). Harrelson gives Ezra a soft, likable quality that would've benefited from more screentime. Even more captivating is Rosario Dawson. This is her some of her best work that I've seen, and she really tries to hold down a storyline that is borderline ridiculous.

We are left guessing (sort-of) as to why Ben Thomas would help these people until the very end. Even then, the origin of Ben's guilt is rather unsatisfying. Will Smith plays the dramatic climaxes beautifully, and he's so likable that his suffering almost automatically moves us. The only problem is that the character of Ben Thomas is rather unlikable, because he is underdeveloped (due to the non-linear narrative) and because he pouts his way through most the picture.

The scenes between Smith and Dawson are another film entirely. They are real. These moments are enticing and imaginative, which makes the movie all the more depressing. If Seven Pounds had focused on these intimate scenes instead of producing a massive “twist” (which wasn’t suprising), we would be looking at a winner of a movie. I feel bad for the actors involved; they deserve a better film.

Gabriele Muccino is disturbingly inconsistent here, mixing beautiful decisions with brainless ones. The decision to include Ennio Morricone’s “The Crisis” during the last portion of the film was beautiful, yet the earlier inclusion of Muse’s “Feelin’ Good” was horribly distracting. He directs the hell out of this film—in a bad way. He tries to pull at every heart-string, but in the process insultingly treats us like puppets. If Seven Pounds was simplified into a linear, character driven drama, the performances would be allowed to expand and hide the painful flaws of the premise.

I really wanted to like Seven Pounds. I had been looking forward to it for a long time. It was a huge dissapointment, despite the strong performances. Will Smith will get his Oscar, not for this particular film, but someday he will. As the credits rolled, the resonance of nose blowing filled the air. If I had seen these characters fleshed out and explored more thoroughly (especially Ezra), I too would've allowed myself to be an emotional pawn. If you can somehow numb your mind for two hours and focus on the performances, you might manage to leave the theater “drastically changed”—don't get your hopes up.