Jan 1, 2009

Seven Pounds


Seven Pounds has been released theatrically long enough so that I feel comfortable divulging certain aspects of the film, both appreciated and loathed, that could be deemed as "spoiling" to the experience that is Seven Pounds. A unanimous amount of movie goers have been terminally stricken with a case of the sub-viral marketing that Seven Pounds has launched. Perplexing trailers with very little plot line were revealed over the course of months. Advertising for this film was frustrating cause I didn't know what was going on and let's face it, This is no Cloverfield advert.


Italian director Gabriele Muccino, widely known for his other Will Smith collective The Pursuit of Happyness, attempts to recreate the feeling of a Shakespearean tragedy with this enigma of a film. Reviews have generally been mixed towards this film which only made me want to experience this on my own. Critics are generally someone you cannot trust. Just ask Ben Lyons about that one time he called I Am Legend "Greatest movie ever made". As filmdom goes, the term "sleeper" is applied to films that are critically received negatively for false reasons, or just no received at all. In this case, Seven Pounds is a sleeper drama hit that will score well with adults.


My curiosity has been piqued, so what next? During the time I spent absorbing Seven Pounds, I found many admirable assets and fewer facets worth nit-picking over. Regarding Will Smith's career? It's been a variety of over-the-top performances in many summer blockbusters. In fact, juxtaposing Will Smith and blockbuster would be a conundrum had he not starred in the most profitable of the bunch. Fresh Prince to Bad Boys, ID4 to Wild Wild West. Smith has been our charming star of most of the ridiculous action films with a racial twist. I can't think of a single genre that the Prince hasn't marked with his irrevocable humor. With such blatant unapologetic propaganda, it's hard not to be swayed by his onscreen swagger.


Seven Pounds is one of his most surprising performances to date. Quick switch from a tragedy to outlandish moments of depression; It's hard to take this film seriously 100% of the time. I even forgot that what I was watching had the sole intent of making me cry. One of the few weaknesses that plagues this film is that Seven Pounds is doomed to be considered just and only good. The character of Ben Thomas is invasive to a degree such seen in Pay It Forward. Valiantly although recklessly charging in the midst of peoples problems for a Shakespearean version of redemption. The cost is flesh and there lies the theme. The key camera angles through fences, windows, and other outlets provide more of a "flesh" to the themes of invasion. Seven Pounds is a homely experience with many personal feeling strewn about.


Seven Pounds is a story that quite literally unfolds. Literally as metaphorically as it can be. During Seven Pounds, you will undoubtedly attempt to unravel the plot and piece the premature puzzle together, Try as you might but you will not foresee the final scenario until it is too late. Seven Pounds brings to flesh the idea of the rules of a theatrical tragedy, but with shameful CGI jellyfish. I wouldn't call this "most depressing" but with a gifted script with flips, twists, and turns, Seven Pounds accelerates past its prime and into a sub genre of film that caters to those looking for an emotional ride. With sacrificial aesthetics and an adequate cast (I despise Rosario Dawson), Seven Pounds is indeed about birth. Cinematic or organic; you decide. What a joyous time to be a crippling depressive.



-mAQ

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