After watching this trailor it some what reminds me of an older movie called Sweet Novemeber...Anyone agree?

rick kane

This review was so awful it actually upset me- this was a great movie and to carve it down to a story of a creepy IRS agent who stalks people is ridiculous and insulting. watch it again, open your eyes and then maybe you might appreciate the plot instead of being upset because the movie was different than what you were expecting. its amazing how you made it sound nothing like what it was.

Binside TV

The New York Times and Variety also published reviews of Seven Pounds questioning the film's thin plot and jellyfish suicide ending. Would it be a spoiler if we were to say that the only reason why Will Smith's character wouldn't be considered a stalker IRS agent is because he is impersonating one? Read TSS theory on Will Smith's movie roles. “The Talented Mr. Smith”

New York Magazine Seven Pounds Review with Spoilers


How Bad Is Seven Pounds’ Ending, Anyway?

A couple of days ago, following Todd McCarthy's entertaining takedown in Variety, we expressed heartfelt hope that the Times would assign its review of Will Smith's new Seven Pounds to Manohla "The Terminator" Dargis. Turns out that wasn't even necessary! This morning, the typically nicer A.O. Scott hilariously brutalizes the film, branding it "among the most transcendently, eye-poppingly, call-your-friend-
over-it-one-more-time crazily awful motion pictures ever made." Without revealing what it is (since "the people at Sony might not invite me to any more screenings"), he blasts Pounds' creepy ending in a way that totally made us want to know what it is. So, we dug around on the Internet (mostly on the movie's Wikipedia page) and figured it out. How bad is it? Bad! Spoilers, after the jump!
The film's story is apparently told in out-of-order flashbacks, but here's the gist: Will Smith plays Ben Thomas, an IRS agent. Some time ago, while out driving with his fiancée, he became distracted by his BlackBerry and turned his car into oncoming traffic, killing her and six strangers. Then, out of guilt, he decides to commit suicide by sharing a bathtub with a deadly jellyfish so he can donate his organs to atone for his sins. Using his IRS credentials (they're actually his brother's — Will Smith's character, whose real name is Tim Thomas, stole his identity), he tracks down seven strangers in need: Woody Harrelson plays a blind pianist who gets his eyes, "Ben" gives his lungs to his ailing brother (the real Ben), he gives a single mother his house, some other woman gets his liver, some dude on dialysis takes his kidney, another guy gets his bone marrow, and he gives Rosario Dawson, the movie's love interest with congestive heart failure, his heart (barf!). (One person who needed bone marrow turns out to not be very nice, and since Ben has pledged only to give his organs to "good" people, he had to pick someone else.) Anyway, yes, the film's title refers to the "seven pounds" of flesh that Ben gives to make up for killing seven innocent people. At movie's end, after Will Smith kills himself, Rosario Dawson (who finally has a heart that can reliably pump blood to her various extremities!) meets Woody Harrelson (who can now see!) and they cry.

New York Times Review by A.O. Scott

“Seven Pounds,” which reunites Will Smith with Gabriele Muccino (who directed him in “The Pursuit of Happyness”), begins with a series of riddling, chronologically scrambled scenes. A man calls 911 to report his own suicide. He badgers a blind call-center employee — whom we suspect will be a significant character, since he’s played by Woody Harrelson — with complaints and insults. He embraces a lovely woman in an even lovelier beach house. He visits a nursing home where he terrorizes an administrator and comforts a resident.

Frankly, though, I don’t see how any review could really spoil what may be among the most transcendently, eye-poppingly, call-your-friend-ranting-in-the-middle-of-the-night-just-to-go-over-it-one-more-time crazily awful motion pictures ever made. I would tell you to go out and see it for yourself, but you might take that as a recommendation rather than a plea for corroboration. Did I really see what I thought I saw?

And I wish I could spell out just what that was, but you wouldn’t believe me, and the people at Sony might not invite me to any more screenings. So instead of spelling out what happens in “Seven Pounds,” I’ll just pluck a few key words and phrases from my notes, and arrange them in the kind of artful disorder Mr. Muccino seems to favor (feel free to start crying any time):

Eggplant parmesan. Printing press. Lung. Bone marrow. Eye transplant. Rosario Dawson. Great Dane. Banana peel. Jellyfish (but you knew that already). Car accident. Congestive heart failure.

Huh? What the ... ? Hang on. What’s he doing? Why? Who does he think he is? Jesus! That last, by the way, is not an exclamation of shock but rather an answer to the preceding question, posed with reference to Mr. Smith. Lately he has taken so eagerly to roles predicated on heroism and world-saving self-sacrifice — see “I Am Legend” and “Hancock” — that you may wonder if he has a messiah clause in his contract.

Variety Review Todd McCarthy

A movie that, like The Sixth Sense, depends entirely upon the payoff for its impact, Seven Pounds is an endlessly sentimental fable about sacrifice and redemption that aims only at the heart at the expense of the head. Intricately constructed so as to infuriate anyone predominantly guided by rationality and intellect, this reteaming of star Will Smith and director Gabriele Muccino after their surprisingly effective The Pursuit of Happyness is off-putting for its manifest manipulations, as well as its pretentiousness and self-importance. All the same, the climax will be emotionally devastating for many viewers, perhaps particularly those with serious religious beliefs, meaning there's a substantial audience out there for this profoundly peculiar drama, if word gets around.

Despite Smith, 'Seven Pounds' is dead weight


Will Smith's unevenly weighted movie, “Seven Pounds,” suffers from underdeveloped characters and overwrought conceits. At times, it also can be affecting and heartfelt, slowly if clumsily building a pain-stung fantasy of guilt and redemption. How much you enjoy it will depend on your appetite for the film's sustained cloud of gloom (albeit one letting in oblique rays of sun), as well as your tolerance for Smith when his charisma level is set to “simmer.”

Written by Grant Nieporte, “Seven Pounds” opens with a series of disorienting, shard-like scenes suggestive of a slowly building mystery: Smith dials 911 to report his own suicide. Then a flashback shows a rolling car crash and a newspaper article with the redundant headline “Fatal accident kills seven.” Looking like a disheveled Man in Black and acting like the Not-So-Fresh Prince of Bel Air, Smith interviews an elderly patient: Is her caretaker a good person? Good enough to be worthy of bone marrow?

The film's puzzle-piece framework is misleading, though. Within 20 minutes, the picture comes into focus, and it's fairly simple: Smith has done something unforgivable, he wants to die, and his clandestine goal (he poses as an IRS agent) is to turn Personal Condemnation into Purposeful Organ Donation. Take the “pound of flesh” from “Merchant of Venice,” multiply by seven, and you've got a movie (if calculations are correct) about 151 times heavier than “21 Grams.”


was the guy who played the real IRS character the brother of the character Will Smith played?
like to settle a bet

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