While Dyer's book on the David Fincher film Seven is a competent and thorough examination of he film, it still manages to feel as if it falls short by the end. To be fair, this might be in part due to my own familiarity with the film. However, there is definitely something lacking Dyer's approach to the film, which seems difficult considering how detailed he is, with separate chapters (seven, of course) for Sin, Story, Structure, Seriality, Sound, Sight, and Salvation.

Perhaps part of the problem is that Dyer does not go too far into the background and pre-production aspects of the film - which is unusual for the BFI series - and when he does it tends to be trivia that most casual fans of the film are already aware of, such as Brad Pitt requiring in his contract that the ending not be changed. Instead, Dyer sends the majority of his time buried deep within the film itself. This shouldn't be detrimental considering the depth of the source material, but just like gazing into the abyss, sometimes you need some distance for perspective, or else you might get sucked in.

The critical analysis is detailed, as stated before, but there are some points at which it seems to lose focus, or even worse, focus too hard. Dyer's insistence on comparing the Somerset/Mills dynamic to Lethal Weapon and other 'Wise Older Black Cop/Wild Young White Cop' films seems misguided considering the overall lack of comparison to other buddy-cop action franchises (outside of the similar stereotypes), and that comparison is belabored far longer than it deserves. Dyer does this on occasion, clinging to an idea far longer than it deserves, such as a repetitive paragraph on "pre-text" that stretches on long enough to feel more like a Dr. Seuss parody. His chapter on Seriality, which delves into the serial killer aspect of John Doe, references both real-life examples and fictional film representations of serial killers, but doesn't quite attempt to discern the difference between the two (for an excellent example of comparing a cinematic killer to a real world counterpart, check out the BFI Classic Film series book on Fritz Lang's M). The overall effect is that Dyer spends half of the time communicating to the reader, and the other half impressing himself.

These criticisms aside, there is depth, detail, and analysis worth witnessing in Dyer's book, and it is still a worthy entry into the BFI series. Perhaps, in the end, Seven is a film that is ultimately underwhelming when dissected academically, but only because experiencing the film is an education in itself. ( )