七宗罪電影觀後感

『壹』 你喜歡《七宗罪》這一部犯罪片嗎

影片的對白十分值得玩味，特別是弗里曼的對白，不少是雙關語，諷刺意味很強，可以使人會心一笑或是感同身受。

說說影片的人物設計。弗里曼角色除了有在性格上的老練沉穩的特點以外，在很大程度上也是飽受了城市罪惡折磨的代表人物，一位城市的「老居民」。皮特夫婦初來報到，飽含寂寞感和強烈的不適感，而這些在弗里曼身上反而顯得尤為突出。弗里曼和皮特在城市日益猖獗的罪惡面前心力交瘁，被兇手牽著鼻子走(湯米李瓊斯在《老無所依》里的老警察角色或多或少地有對弗里曼致敬的意味）。更可怕的是兇手竟然打著替天行道的旗號，他雖是殺人犯,但卻是一個忠誠的殉道者。當皮特對史派西開槍的那一刻，所有的正義與邪惡都變得模糊膠著了。另外格溫妮絲帕爾特諾的角色也在很大的程度上詮釋了家庭內部的隔膜感，她絕不能容忍自己的孩子出生在這樣一個地方里。至於約翰杜，他對於別人家庭的嫉妒恐怕也不是第一天。在律師的被殺害現場有一個細節，約翰杜在律師妻子的照片上作了與殺人計劃無關的手腳，說明他很關注異性。從這里來看，約翰杜本來就犯了嫉妒罪，在懲罰自己的問題上也一直在猶豫和掙扎著。

『貳』 求《七宗罪》1500字的電影觀後感，從心理學角度

七宗罪》觀後感

暴食、貪婪、懶惰、淫慾、傲慢、嫉妒和暴怒——被天主教認為是遭永劫的七種大罪，在你的身上，有它們的影子嗎？ 冬天的早晨，天陰沉沉的。

電影《七宗罪》在電腦屏幕上不斷切換境頭。人，也不由得驚悚起來。剛剛看這部電影，看前面部分老少警察搭檔破案，覺得和一般的偵探電影並沒有多大區別時，甚至有放棄的想法，直到後來才發現它的精彩。

這是部以破案為引子，帶有濃厚宗教色彩的片子。故事的背景是骯臟的城市，動盪的居住環境，對情感難以把握的人心，似乎所有的都無以為靠。影片以黑色及灰色為主題背景，色彩不血腥卻具有強烈的明暗差，時常出現的狹小黑暗的房間，手電筒強烈的光線不斷出現在偵案現場。

老警察沙摩塞還有七天就可以退休，命案卻一樁接一樁發生，當他將毫無關聯的三樁命案聯系起來，意識到將發生《聖經》里被天主教認為遭永劫的七種大罪時，本打算退出此案，後還是決定留下來與新警察米爾斯一起。案發現場沒有任何指紋，直到發生五樁命案，警察卻沒能找到任何蛛絲馬跡時，兇手約翰卻來到警察大廳自首了，帶著他的血淋淋的十指和平靜的微笑。

這讓所有人都費解，約翰主動被警察所困，那他將如何去實施他未完成的兩樁命案呢？懸念頓生。影片中約翰的出鏡不多，主要集中在後半部分，但卻給我最深的印象。他帶兩個警察一起去郊外尋找最後兩具屍體，坐在警車上隔著鐵欄談話的表情和語言，是全片的亮點。輕緩的語言講述著他經手的五宗罪，眼神里盪漾著一種輕微的波浪，以至於你會覺得從他口中出來的殘忍語言，都帶著一絲優雅的色彩。你會相信，他所說的，都是有道理的。就是這樣一個自信卻邪惡的佈道者，和米爾斯被激怒的粗暴神態形成強烈對比，你甚至會站在約翰的角度來說：「看吧，這就是渾身罪惡的人們！」

約翰因嫉妒米爾斯及其妻子翠茜的幸福，割下翠茜頭顱讓人送至案發現場，米爾斯暴怒之下擊斃約翰，這種結局出人意料之外，卻又似在情理中。此時，你似乎不得不佩服約翰的眼力，選中了米爾斯做為第七宗罪：「暴怒」的代替者是完全對的。而約翰自己，卻是以那種邪惡自信的笑容坦然地面對被殺，因為他知道自己犯了「嫉妒」罪。約翰雖死，但他卻是以一種勝利者的姿態死的，因為所有的都在他的掌控中，他完成了上帝交給他的任務。這個最引人眼球的結局發生在七天後的七點鍾，那帶著神秘色彩的「七」上。

約翰是個追求完美的人，只是這份完美過份極瑞，在剝奪了那些「罪惡者」生存權利的同時，也無法原諒自己的「罪惡」。他的笑，似一個詛咒，牽引著人們審視自身。

沙摩塞，這個辦案慎密、行走孤獨的老警察，對於社會上存在的醜陋早已司空見怪，他會告訴米爾斯遇到搶劫時不要叫救命而喊救火，他不要孩子，因為不想讓孩子出生在這個骯臟的世界。他就這樣不緊不慢地生活在這個骯臟的城市，冷眼旁觀著一切。

米爾斯，脾氣暴燥，卻有著善良的心地，他似一個孩子般愛著家中的

寵物和妻子，卻因這份對妻子的疼愛，在得知妻子被殺後無法抑制的悲痛終於爆發，以至於殺死了兇手。

執法者與上帝的傳道者都有罪，活在這個世界上，誰能沒罪呢？ 海明威曾說：「這個世界如此美好，值得人們為它奮斗」 。看完這部影片，這兩句話我都不認同。

『叄』 講述人罪孽的《七宗罪》評價很高，這部電影是否能夠引起人們反思

《七宗罪》這部電影，牛逼就牛逼在這是一部不僅有著濃厚的宗教色彩而且又傳達出一種絕望之後的希望的作品。兇手以殺戮傳教，以上帝之名懲罰了天主教中的七種大罪。
這部電影可以讓我們審視自己，在現實生活中，我們扮演的是智者還是愚者，是勇敢，熱情，善良，寬容地面對生活，還是退縮，冷漠，邪惡，狹隘？這是這部電影留給了觀眾的思考的空間。
結局如果David死了那John在車上對他說的「在你的餘生中看見自己的臉都會想起是我饒恕了你」和電影結局老威廉對警察說的「好好照顧他」又有什麼意義？抑或是在這背後還有更大的陰謀？我還是搞不懂。
一部需要慢慢品的電影，並不只有七宗罪那麼簡單，威廉和大衛的對比，訴說了時代的變化，威廉對社會的態度以及大衛妻子的死等等這些展現，都值得琢磨。另外摩根弗里曼的演技實在是太棒了！

『肆』 七宗罪觀後感200字就行 用心理學闡述

《七宗罪》講述了老探員薩默塞特和年輕的警察米爾斯追查連續殺人案的故事，而殺人犯John是一個變態的宗教殺手，自己認為自己是神派來的使者，代表神以七宗罪的來懲罰世人。老探員薩默塞特則看多了太多的殺人案件和了解很多犯人的性格，在偵查案件事表現出冷靜，特別是最後車子里，一句話都沒有說，對於犯人解釋表現出習慣以至於不去和犯人反駁。年輕的警察米爾斯一心想抓到犯人，但由於自己的沖動，被犯人誘導去犯罪，最終由執法者變成犯罪人。
影片的john不是沒有文化，相反是受過高等教育，智商也極高，但反而卻成為了危害社會的人。由於受到宗教的影響，加上社會上的種種原因，犯人就用七宗罪來衡量這個社會，對犯有七宗罪之一的人連續殺害，但對自己所犯的罪，卻只有七宗罪之一的嫉妒，完全沒有對自己殺人而感到罪惡，自己認為自己是替神辦事，幫助社會。影片中的john是典型的反社會人員，他們的人格扭曲，開始異化，脫離現實社會思想。他想用七宗罪來告誡世人，但自己卻製造人去犯七宗罪，而不是去感化和告誡，把罪行強加於別人，只顧及自己的計劃，只是用自己的角度來看一個人的罪行，他所說的罪行其實都是他自己想的，沒有用社會角度來衡量他的罪惡程度。所以犯人john是一個嚴重的偏執狂，思想過度誇張。
至於年輕的警察米爾斯，最終無法控制自己的情緒而私自殺死犯人。作為一個警察，卻無法控制自己的情緒。可以看出，人性的脆弱，造成了沖動性犯罪。米爾斯是由於自己的性格，然後被外界因素影響也導致他犯罪，說明犯罪人有些是無法控制自己的性格而導致犯罪，性格也是犯罪的起源之一。
老探員薩默塞特則是辦案的老手，當他看到犯人留下的暴食和貪婪時，知道犯人是以七宗罪來連續殺人，然後就去查看有關七宗罪的書，來猜測犯人的心理和作案方法。說明了，猜測犯人的心理是破案關鍵和線索。
《七宗罪》講述了3個人的故事，表現出犯罪和心理的關聯性。

『伍』 怎麼評價電影《七宗罪》的

有人說《七宗罪》是對人性的警示，也有人認為《七宗罪》是對現實生活中美國持續不斷發生的連環變態殺手事件的反映和體現。對我們來說，重視人性的健康發展，宣揚積極的人文思想，形成和諧的社會，才是我們工作奮斗的最終目的。人性，不應該被淹沒在機械的工作中；人，不應該是無感情無思想無人性的機器；人與人之間也不應該只有相互攻擊、相互傷害的關系。或許在現實生活中，很少有人能完全做到不犯七宗罪的任何一種，但是保持著一份健康的心態、熱愛生活、尊重生命是我們能努力做到的。世界是美好的，我們應該為此奮斗！

『陸』 電影《七宗罪》觀後感及疑點

我的理解就是：光頭完成了他的所謂的「使命」
在我們看...一直到他自首的時候，光頭分別殺了5人：暴食、貪婪、傲慢、傲慢、及色慾，這樣我們會疑惑，還有：妒忌、暴怒呢？
這是光頭的一個圈套，其實光頭被年輕警察殺死是因為光頭認為自己就是「妒忌」老警察看出了他的圈套，所以一直跟年輕的警察說：你殺了他，他就贏了！
當然「暴怒」就是年輕警察，他殺了光頭，按法律，他也是犯死刑。
剛好七個...

『柒』 急求電影《七宗罪》英文觀後感一篇~~~英文簡單一些，本人英語水平不是很高謝謝!!

Seven," a dark, grisly, horrifying and intelligent thriller, may be too disturbing for many people, I imagine, although if you can bear to watch, it you will see filmmaking of a high order. It tells the story of two detectives - one ready to retire, the other at the start of his career - and their attempts to capture a perverted serial killer who is using the Seven Deadly Sins as his scenario.

As the movie opens, we meet Somerset (Morgan Freeman), a meticulous veteran cop who lives a lonely bachelor's life in what looks like a furnished room. Then he meets Mills (Brad Pitt), an impulsive young cop who actually asked to be transferred into Somerset's district. The two men investigate a particularly gruesome murder, in which a fat man was tied hand and feet and forced to eat himself to death.

His crime was the crime of Gluttony. Soon Somerset and Mills are investigating equally inventive murders involving Greed, Sloth, Lust and the other deadly sins. In each case, the murder method is appropriate, and disgusting (one victim is forced to cut off a pound of his own flesh; another is tied to a bed for a year; a third, too proud of her beauty, is disfigured and then offered the choice of a call for help or sleeping pills). Somerset concludes that the killer, "John Doe," is using his crimes to preach a sermon.

The look of "Seven" is crucial to its effect. This is a very dark film, the gloom often penetrated only by the flashlights of the detectives. Even when all the lights are turned on in the apartments of the victims, they cast only wan, hopeless pools of light.

Although the time of the story is the present, the set design suggests the 1940s; Gary Wissner, the art director, goes for dark blacks and browns, deep shadows, lights of deep yellow, and a lot of dark wood furniture. It rains almost all the time.

In this jungle of gloom, Somerset and Mills tread with growing alarm. Somerset intuits that the killer is using books as the inspiration for his crimes, and studies Dante, Milton and Chaucer for hints. Mills settles for the Cliff Notes versions. A break in the case comes with Somerset's sudden hunch that the killer might have a library card. But the corpses pile up, in cold fleshy detail, as disturbingly graphic as I've seen in a commercial film. The only glimmers of life and hope come from Tracy (Gwyneth Paltrow), Mills' wife.

A movie like this is all style. The material by itself could have been handled in many ways, but the director, David Fincher ("Alien 3"), goes for evocative atmosphere, and the writer, Andrew Kevin Walker, writes dialogue that for Morgan Freeman, in particular, is wise, informed and poetic. ("Anyone who spends a significant amount of time with me," he says, "finds me disagreeable.") Eventually, it becomes clear that the killer's sermon is being preached directly to the two policemen, and that in order to understand it, they may have to risk their lives and souls.

"Seven" is unique in one detail of its construction; it brings the killer onscreen with half an hour to go, and gives him a speaking role. Instead of being simply the quarry in a chase, he is revealed as a twisted but articulate antagonist, who has devised a horrible plan for concluding his sermon. (The actor playing the killer is not identified by name in the ads or opening credits, and so I will leave his identity as another of his surprises.) "Seven" is well-made in its details, and uncompromising in the way it presents the disturbing details of the crimes. It is certainly not for the young or the sensitive. Good as it is, it misses greatness by not quite finding the right way to end. All of the pieces are in place, all of the characters are in position, and then - I think the way the story ends is too easy. Satisfying, perhaps. But not worthy of what has gone before.

『捌』 《七宗罪》是一部熱播燒腦懸疑劇，這部劇其實有什麼寓意

在《七宗罪》的一開始，我認為它只是一部普通的懸疑電影罷了，打著宗教幌子、帶著一對明星來騙錢的？但當《七宗罪》的結尾一來，我這個人都被這部電影征服了。摩根·福爾曼不愧是一輩子沒拍過爛片的狠角色！用他飾演的探員William Somerset的一句台詞就可以回答這個問題：「這是個美好的世界，值得我們為之奮斗。我同意後半句。」——Somerset.

『玖』 七宗罪的影片評價

經典黑色驚悚片
《七宗罪》是一部經典黑色驚悚片，劇情與天主教中的七種死罪緊密相連，但影片的高明之處在於沒有機械性的將這七宗案件羅列在一起，而是從兩名警探的視角出發，逐漸的推理向案件背後的真相，而凱文·史派西扮演的連環殺手不但以自首的方式讓案情峰迴路轉，第六、第七宗案子的完成更是出人意料（網易評） 。
《七宗罪》的電影場景被導演大衛·芬奇布置得像後現代裝置藝術的展覽場，比如饕餮罪現場讓人作嘔的黃光色調義大利面、淫慾罪現在的紅色血腥場景、驕傲罪里潔白房間顯現的恐怖感，以及懶惰罪里污穢黝暗的綠色光影，當然混沌和黑暗才是影片的主調（《信息時報》評） 。
在這部電影中，導演大衛·芬奇不但打破好萊塢傳統類型電影的框框，還不斷把驚喜帶給觀眾，使這部看似是警匪驚嚇片的電影比其他同類製作的電影還要出色和震憾。另一方面，片中的美術指導與攝影技巧也是同樣的嚴謹細致（新浪網評） 。暗色調的渲染、不停下雨的城市，昏暗的燈光和明暗處理，不論何時似乎都籠罩著一層詭異地面紗。不同如《十二宮》那種似有似無的迷霧效果，《七宗罪》的畫面都是清晰的、殘酷的乃至血淋淋的（戴威評） 。
具有社會意義
《七宗罪》因為深刻反映了道德淪喪等社會問題而廣受好評（新浪網評） 。這部電影在某種程度上嚴肅地探討了有意義的暴力與無意義的暴力的差別，同時也激起了觀眾的「原罪」意識（好萊塢影評人希弗·紐曼評）。影片中的七樁案件忽隱忽現，若明若暗，不時有「山窮水復疑無路，柳暗花明又一村」的境界。片中對犯罪心理學做了詳盡的描述，而罪犯通過《聖經》的道德審判來殺人，更具社會意義。一個警察最終成為兇手計劃的執行者，這是對社會和人生的諷刺（魏楚豫評）。
獨特的電影語言
《七宗罪》的電影語言獨特，並且與正統分道揚鑣。大衛·芬奇把關注的焦點投向人性與社會的黑暗之處，影像風格強有力而且震撼人心。首先從電影的敘事結構上來說，七個案件、七項罪過，導演並沒有分段拍攝，而是以兩位偵探的視角為出發點，逐漸深入。影片絕大多數的劇情都是靠兩位主演來支撐，影片的反角其實僅在影片的最後一幕出其不意地露面，但在其出現後立馬加入大段獨白，從而順利地烘托其從頭至尾無處不在的「幻感」。這部影片完全打破傳統驚悚片的套路，給反角以前所未有的大段台詞。雖然影片的宗旨是對人性中原罪的探討，並且以七個匪夷所思的案件為依託，但導演在其中加入了大量麥爾斯與妻子、他妻子與沙摩塞的對話情節，這些看似與主題沒有太大聯系的情節，最終都成為烘托結局的絕佳素材，也從側面突出了主題（戴威評） 。
其次是影片角色與人物的契合。弗里曼的豁達睿智、布拉德·皮特的血氣方剛，都使得他們非常適合所扮演角色的個性。而編劇也在該片中創造出了一個與眾不同的反角：約翰·杜精通古典文學，他所作一切的出發點竟然是要向這個邪惡世界挑戰。他為每一宗原罪都找到一個代表人物，然後用以毒攻毒的方式置該人於死地。在他出場後的大段對白中，並沒有什麼深刻的理論，但卻句句發人深省（戴威評） 。
《七宗罪》開創了一種不同於以往好萊塢影片的電影語言，片中的殺手殺人並非是因為嗜血，他是憑著強大的理論信條加上妄念來實施他自以為是的通過「審判」和佈道來拯救的目的，這才是最可怕的。也許他平時連一隻雞也不殺，但是他找到了依據來實施對人的毛骨悚然的謀殺，這種恐怖並非是親眼看到某種可怕場面時感官的自然反應，而是心理上的恐怖。這使得《七宗罪》這部看起來像是偵探片或類型化恐怖片的電影脫離了某些窠臼，而與美國社會現實生活建立起了心理上的聯系（叢峰評）。

『拾』 七宗罪的觀後感 英文

Although not originating from the bible, the concept of deadly sins is almost as old as Christian doctrine itself. Theologians like 4th century Greek monk Evagrius of Pontus first compiled catalogues of deadly offenses against the divine order, which 6th century pope Gregory the Great consolidated into a list of seven sins, which in turn formed the basis of the works of medieval/renaissance writers like St. Thomas Aquinas ("Summa Theologiae"), Geoffrey Chaucer ("Canterbury Tales"), Christopher Marlowe ("Dr. Faustus"), Edmund Spenser ("The Faerie Queene") and Dante Alighieri ("Commedia Divina"/"Purgatorio"). And in times when the ability to read was a privilege rather than a basic skill, the depiction of sin in paintings wasn't far behind; particularly resulting from the 16th century's reformulation of church doctrine, the works of artists like Hieronymus Bosch and Pieter Bruegel the Elder brought the horrific results of humankind's penchant to inlge in vice back into general consciousness with surrealistic eloquence, reminding their viewers that no sin goes unseen (Bosch, "The Seven Deadly Sins") and that its commission leads straight into a hell reigned by gruesome, grotesque demons and devils whose sole purpose is to torture those fallen into their hands (Bosch, "The Hay-Wagon" and "The Last Judgment;" Bruegel, "The Triumph of Death" and "The Tower of Babel").

More recently, the seven deadly sins have been the subject of Stephen Sondheim's play "Getting Away With Murder" and a ballet by George Balanchine ("Seven Deadly Sins"); and on the silver screen the topic has been addressed almost since the beginning of filmmaking (Cabiria [1914], Intolerance [1916]). Thus, "Se7en" builds on a solid tradition both in its own domain and in other art forms, topically as well as in its approach, denouncing society's apathy towards vice and crime. Yet - and although expressly referencing the writings of St. Thomas Aquinas, Chaucer and Dante - David Fincher's movie eschews well-trodden paths and grabs the viewer's attention from the beginning; and it does so not merely by the depiction of serial killer John Doe's (Kevin Spacey's) crimes, which could easily degenerate into a mindless bloodfest that would defeat the movie's purpose. (Not that there isn't a fair share of blood and gore on display; both visually and in the characters' dialogue regarding those details not actually shown; but Fincher uses the crimes' gruesome nature to create a sense of stark realism, rather than for shock value alone.) In addition, Doe's mindset is painstakingly presented by the opening credits' jumpy nature, his "lair"'s apocalyptic makeup and his notebooks, all of which were actually written out (at considerable expense), and whose compilation is shown underlying the credits. The movie's atmosphere of unrelenting doom is further underscored by a color scheme dominated by brown, gray and only subed hues of other colors, and by the fact that almost every outdoors scene is set in rain. Moreover, although screenwriter Andrew Kevin Walker explains on the DVD that the story was inspired by his observations in New York (and the movie was shot partly there, partly in L.A.), it is set in a faceless, nameless city, thus emphasizing that its concern isn't a specific location but society generally.

Central to the movie is the contrast between world-weary Detective Somerset (Morgan Freeman) who, while decrying the rampant occurrence of violence in society, for much of the movie seems to have resigned himself to his inability to do something meaningful about this (and therefore seems to accept apathy for himself, too, until his reluctant final turnaround), and younger Detective Mills (Brad Pitt), who fought for a reassignment to this particular location, perhaps naively expecting his contributions to actually make a difference; only to become a pawn in Doe's scheme instead and thus show that, given the right trigger, nobody is beyond temptation. As such, Somerset and Mills are not merely another incarnation of the well-known old-cop-young-cop pairing. Rather, their characters' development over the course of the film forces each viewer to examine his/her own stance towards vice.

Morgan Freeman and Brad Pitt perfectly portray the two detectives; while Freeman imbues his Will Somerset with a quiet dignity, professionalism and learning, muted by profound but not yet wholly irreversible resignation, Pitt's David Mills is a brash everyman from the suburbs with an undeniable streak of prejudice, a penchant for quick judgment and a thorough lack of sophistication, both personally and culturally. Notable are also the appearances of Gwyneth Paltrow (significantly Brad Pitt's real-life girlfriend at the time) as Mills's wife Tracy and ex-marine R. Lee Ermey as the police captain. Yet, from his very first appearance onwards, this is entirely Kevin Spacey's film. Reportedly, Brad Pitt especially fought hard for his casting; and it is indeed hard to imagine "Se7en" with anybody other than the guy who, that same year, also won an Oscar for portraying devilish Keyser Soze in "The Usual Suspects": No living actor has Spacey's ability to simultaneously express spine-chilling villainy, laconic indifference and limitless superiority with merely a few gestures and vocal inflections.

While "Se7en" can certainly claim the "sledgehammer" effect on its viewers sought by its fictional killer, the punishment meted out to Doe's victims - taking their perceived sins to the extreme - pales in comparison to that awaiting sinners according to medieval teachings. (Inter alia, gluttons would thus be forced to eat vermin, toads and snakes, greed-mongers put in cauldrons of boiling oil and those guilty of lust smothered in fire and brimstone.) Most serial killers have decidedly more mundane motivations than Doe. And after all, this is only a movie.

Seven is a very disturbing thriller about a serial killer,John Doe(Kevin Spacey), killing people via examples of the seven deadly sins - gluttony, greed, sloth, lust, pride, envy and wrath. The story begins with Detective Mills (Brad Pitt) being assigned to Detective Somerset (Morgan Freeman). Detective Somerset is e to retire at the end of the week, and Detective Mills is moving up in the world, and is to take Somerset's place. This is a very disturbing movie. It will keep you enthralled and glued to your seat for the entire 127 minutes. Indeed, I was staggered that I never once lost concentration or was bored with this movie.This is a movie with an unexpected ending that is absolutely unpredictable and which is not at all a "Hollywood" style ending.

I saw this movie a couple times, and I liked it as a scary movie on a rainy day or whatever.... it's just that, I know too many people who take this stuff seriously. It's filled with Christian or more specifically Catholic, mythology - the seven deadly "sins" Lust, Vanity, Gluttony, Pride, Wrath, Sloth and Greed. It's basically a vigilante who goes around killing people in horrific manners as a punishment for their "sins." It has a surprise ending which was cleverly thought out more or less, but innocents suffered at this guy's hands and the plot doesn't really make sense. In no way does it make moral sense. First of all, Catholics practice child sacrifice and torture and enslave women, which does not qualify them as the best moral judges. The bible in itself is tyrannical and abusive, as well as chock full of lunacy - not the reasoned judge I'd want making decisions on my moral life that's for sure.

Also this guy does not really mete out justice. A person guilty of gluttony, sloth or vanity, does not deserve death, not even in the Catholic church and they loooove to kill and torture people. Usually, you go to confession and say a Hail Mary or two. I think the psycho in this movie was just looking for an excuse to kill people and get his pic in the paper, or whatever, and con a bunch of suckers into thinking he was some underground hero instead of what he was - a cruel psychotic, not-very-bright, jerk. Actually I have a lot of compassion for people who mess up in life, controlling the worst of your nature is difficult, most people mess up often on all counts - and Catholics can be overly critical - not to mention psychotic - about details anyway. You really have to know a person's whole life to know what they are. Maybe that guy was injured and gained weight because he couldn't move around very well, maybe the guy having sex was lonely and frightened and needed physical contact... who knows? You can't judge people on an outward, shallow look-over of their lives. If you want to help people out with their struggles for virtue why not invite the gluttony guy out to walk with you, or ask the lustful guy what intimate relationships mean to him, or why he's lonely or out of control? Maybe they're looking for help, virtue is it's own reward and all that - and lack of it is it's own justice in many ways. I think the psycho killer could've stayed at home and worked on himself, it would've worked out on it's own.