Although The Pursuit of Happyness was schmaltz dipped in sugar and coated in the sickliest sweet honey possible, it did have understated direction and a transfixing central performance from Will Smith. So with this re-teaming of Smith and director Gabrielle Muccino, it is just about possible to fall for this little puzzle-box of a movie, Seven Pounds.
Ambitiously tackling everything from life and death, friendship, redemption and countless other preachy topics, it’s hard to sum up what Seven Pounds is about without ruining the surprise. In fact the first 30 minutes are extremely frustrating because it has the air of a movie with the opening reel missing, but this just adds to the mystery (I guess).
For some unspecified reason Ben Thomas (Smith) is attempting to change the lives of seven people that he has on a list; the only thing that they have in common is that they are all in dire need of aid for very different reasons. Emily (Rosario Dawson) is bed stricken, Ezra (Woody Harrelson) is blind, Connie (Elpidia Carillo) has an abusive boyfriend... you get the idea. Why “Big Willie” is doing this and to what ends is a question that Seven Pounds asks us to be very, very patient in understanding.
Smith has an unnerving way of making very flawed films extremely watchable – Men in Black II, I Am Legend and Hancock would surely not have been the successes they were without Hollywood’s most bankable star.
Seven Pounds is without doubt the worst of the lot and the magic is worryingly close to wearing off. It is a performance of pain that is effortlessly etched on Smith’s face during almost every frame. It’s highly believable and utterly convincing, and it’s enough to allow some emotional investment in Ben’s journey.
Seven Pounds requires much with its slow pace and occasional clue dropping, and it’s almost worth it but for the ludicrous and surprisingly predictable “twist” that brings proceedings to a thudding end. Jaws will be on the floor for entirely different reasons than the film-makers intended.
The Rosario Dawson/Smith relationship is at times genuinely tender and the film’s heart is in the right place, but that’s not enough to recommend it.
[etRating value=“ 2”]
Ambitiously tackling everything from life and death, friendship, redemption and countless other preachy topics, it’s hard to sum up what Seven Pounds is about without ruining the surprise. In fact the first 30 minutes are extremely frustrating because it has the air of a movie with the opening reel missing, but this just adds to the mystery (I guess).
For some unspecified reason Ben Thomas (Smith) is attempting to change the lives of seven people that he has on a list; the only thing that they have in common is that they are all in dire need of aid for very different reasons. Emily (Rosario Dawson) is bed stricken, Ezra (Woody Harrelson) is blind, Connie (Elpidia Carillo) has an abusive boyfriend... you get the idea. Why “Big Willie” is doing this and to what ends is a question that Seven Pounds asks us to be very, very patient in understanding.
Smith has an unnerving way of making very flawed films extremely watchable – Men in Black II, I Am Legend and Hancock would surely not have been the successes they were without Hollywood’s most bankable star.
Seven Pounds is without doubt the worst of the lot and the magic is worryingly close to wearing off. It is a performance of pain that is effortlessly etched on Smith’s face during almost every frame. It’s highly believable and utterly convincing, and it’s enough to allow some emotional investment in Ben’s journey.
Seven Pounds requires much with its slow pace and occasional clue dropping, and it’s almost worth it but for the ludicrous and surprisingly predictable “twist” that brings proceedings to a thudding end. Jaws will be on the floor for entirely different reasons than the film-makers intended.
The Rosario Dawson/Smith relationship is at times genuinely tender and the film’s heart is in the right place, but that’s not enough to recommend it.
[etRating value=“ 2”]
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