If you wanted to remake William Lustig’s 1980 slasher cornerstone with an abundance of point-of-view shots, you probably couldn’t do a better a job than Franck Khalfoun did with this remake. Maniac is beautiful and imaginative, photographed almost entirely from the killer’s (Elijah Wood’s) point of view. You really only see him in mirrors and other reflective surfaces. On one hand, the conceit is clever and cool, but on the other hand, it ends up being what I’m paying attention to — not the thin storyline or the operatic depiction of its psychologically scarred central character. I think less would have been more where the back story is concerned, and I’m not sure the perpetual POV tactic is the best way to tell this story.
Director David Fincher rebounded from Alien 3 with this seemingly innocuous serial killer flick penned by Andrew Kevin Walker. We’d seen buddy cop flicks and killers with gitchy modus operandis before, but characterization and style put Se7en over the edge. It’s a deeply creepy and unsettling movie centering around a seasoned detective (Morgan Freeman) and a rookie (Brad Pitt) who are paired in pursuit of a mysterious killer who’s patterning his murders after the seven deadly sins. Talk about your horror set-pieces. The scene where the detectives discover ‘Sloth’ contains one of the most memorable shocks I’ve ever experienced at the movies, and the way in which ‘Lust’ is played out also haunts my memories. Freeman and Pitt’s performances keep the story well grounded and relatable, while composer Howard Shore washes the movie in a brooding orchestral score that reinforces the film’s constantly claustrophobic atmosphere.
