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Posted: |
Sep 8, 2018 - 2:39 AM
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By: |
MusicMad
(Member)
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I watched the film last night ... just about to give up, somewhat bored, when the story changed (from his to her POV) and that kept me watching ... every twist making the story more unbelievable and ridiculous. At the end I decided to downgrade my rating since the ending was so poor (a common issue, for me, with modern films, TV series, etc.) making me wish I had known what the film was going to be ... so that I didn't have to waste 2+ hours finding out.
But, the music was a pleasant surprise! I'd forgotten who'd scored the film when I saw the names on the screen ... and groaned. I'm not a fan of the The Social Network (2010) - as a standalone listen (I haven't seen the film) - and, from what I can remember, I didn't think much of the score (or the film!) to The Girl with the Dragon Tattoo (2011).
So, to hear melodic music at times was unexpected and really nice ... and then it clicked: the melody sounded very similar to John Barry's Who Will Buy My Yesterdays from his 1970 album Ready When You Are, J.B.
So the 2+ hours weren't a complete waste! And I did enjoy some of the film - somewhat intrigued - whilst watching (which only made the lousy ending that much worse to take).
Mitch
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Thanks mitch - i noticed this was on sky this week so im glad i avoided 2 hours modern film torture!!
The film does seem to have fans and critics.
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As the film went along I thought the music did a great job of pulling me further and further into the story. I doubt though the music works real well as a standalone. The ending was disappointing though. It would've been better had they gone with a tension-filled ending where he overcame her instead of dour resignation.
Seven is the quintessential example of making an unhappy ending work IMO. I can remember laughing at people who said they didn't like the ending. As if we can never have that in films. The truth is we don't like unhappy endings, but for a brief moment Seven successfully achieved that.
I think the ending is fine as is. They both deserve each other! 
It still cracks me up that this is my favorite of the four Reznor/Ross scores for Fincher - and, of course, the only one not to receive an Oscar nomination.
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