It takes a lot -- a whole lot -- of poorly-presented schlock to get TrustMovies to go after a film with the cold-hearted, take-no-prisoners tenacity of a Freddy Krueger. The Gabrielle Muccino (shown, left)/Grant Nieport/Will Smith concoction SEVEN POUNDS is that schlock -- in spades. It has been a long while since I have had to sit through a film with so little to say that took this long to say it: two hours and three minutes. A lot of Mr. Smith's movies are too long (Enemy of the State, Bad
Boys 2, Bagger Vance, Independence Day, and on and on), but some of them offer other reasons to watch.
Initially, Seven Pounds (which made its DVDebut last week) appears to be some sort of mystery, and this may keep you interested -- for a time. Slowly, however, all the tiresome dawdling that director Muccino (shown top, left) and writer Nieport cook up drains the film of its inherent interest. Further, Nieport's absolutely dismal sense of dialog neither captures the way real people talk nor gives us a trace of wit or cleverness.
more interesting than either Smith or Dawson.
|Seven Pounds is the kind of manipulative, manufactured tale that desperately needs style and pacing to carry its audience along. Muccino seemed capable of this, back in his early Italian days (But Forever in My Mind and The Last Kiss). Since then -- Remember Me, My Love; The Pursuit of Happyness; and now this catastrophe -- his hand has grown heavier and his films less interesting. At every point along the way, from the printing press to the flashbacks of better days, you just know that every acorn planted will spring into full bloom by the finale -- and strangle you in its branches.|
Woody Harrelson, left, with Smith: The eyes have it.