七宗罪电影观后感

『壹』 你喜欢《七宗罪》这一部犯罪片吗

影片的对白十分值得玩味，特别是弗里曼的对白，不少是双关语，讽刺意味很强，可以使人会心一笑或是感同身受。

说说影片的人物设计。弗里曼角色除了有在性格上的老练沉稳的特点以外，在很大程度上也是饱受了城市罪恶折磨的代表人物，一位城市的“老居民”。皮特夫妇初来报到，饱含寂寞感和强烈的不适感，而这些在弗里曼身上反而显得尤为突出。弗里曼和皮特在城市日益猖獗的罪恶面前心力交瘁，被凶手牵着鼻子走(汤米李琼斯在《老无所依》里的老警察角色或多或少地有对弗里曼致敬的意味）。更可怕的是凶手竟然打着替天行道的旗号，他虽是杀人犯,但却是一个忠诚的殉道者。当皮特对史派西开枪的那一刻，所有的正义与邪恶都变得模糊胶着了。另外格温妮丝帕尔特诺的角色也在很大的程度上诠释了家庭内部的隔膜感，她绝不能容忍自己的孩子出生在这样一个地方里。至于约翰杜，他对于别人家庭的嫉妒恐怕也不是第一天。在律师的被杀害现场有一个细节，约翰杜在律师妻子的照片上作了与杀人计划无关的手脚，说明他很关注异性。从这里来看，约翰杜本来就犯了嫉妒罪，在惩罚自己的问题上也一直在犹豫和挣扎着。

『贰』 求《七宗罪》1500字的电影观后感，从心理学角度

七宗罪》观后感

暴食、贪婪、懒惰、淫欲、傲慢、嫉妒和暴怒——被天主教认为是遭永劫的七种大罪，在你的身上，有它们的影子吗？ 冬天的早晨，天阴沉沉的。

电影《七宗罪》在电脑屏幕上不断切换境头。人，也不由得惊悚起来。刚刚看这部电影，看前面部分老少警察搭档破案，觉得和一般的侦探电影并没有多大区别时，甚至有放弃的想法，直到后来才发现它的精彩。

这是部以破案为引子，带有浓厚宗教色彩的片子。故事的背景是肮脏的城市，动荡的居住环境，对情感难以把握的人心，似乎所有的都无以为靠。影片以黑色及灰色为主题背景，色彩不血腥却具有强烈的明暗差，时常出现的狭小黑暗的房间，手电筒强烈的光线不断出现在侦案现场。

老警察沙摩塞还有七天就可以退休，命案却一桩接一桩发生，当他将毫无关联的三桩命案联系起来，意识到将发生《圣经》里被天主教认为遭永劫的七种大罪时，本打算退出此案，后还是决定留下来与新警察米尔斯一起。案发现场没有任何指纹，直到发生五桩命案，警察却没能找到任何蛛丝马迹时，凶手约翰却来到警察大厅自首了，带着他的血淋淋的十指和平静的微笑。

这让所有人都费解，约翰主动被警察所困，那他将如何去实施他未完成的两桩命案呢？悬念顿生。影片中约翰的出镜不多，主要集中在后半部分，但却给我最深的印象。他带两个警察一起去郊外寻找最后两具尸体，坐在警车上隔着铁栏谈话的表情和语言，是全片的亮点。轻缓的语言讲述着他经手的五宗罪，眼神里荡漾着一种轻微的波浪，以至于你会觉得从他口中出来的残忍语言，都带着一丝优雅的色彩。你会相信，他所说的，都是有道理的。就是这样一个自信却邪恶的布道者，和米尔斯被激怒的粗暴神态形成强烈对比，你甚至会站在约翰的角度来说：“看吧，这就是浑身罪恶的人们！”

约翰因嫉妒米尔斯及其妻子翠茜的幸福，割下翠茜头颅让人送至案发现场，米尔斯暴怒之下击毙约翰，这种结局出人意料之外，却又似在情理中。此时，你似乎不得不佩服约翰的眼力，选中了米尔斯做为第七宗罪：“暴怒”的代替者是完全对的。而约翰自己，却是以那种邪恶自信的笑容坦然地面对被杀，因为他知道自己犯了“嫉妒”罪。约翰虽死，但他却是以一种胜利者的姿态死的，因为所有的都在他的掌控中，他完成了上帝交给他的任务。这个最引人眼球的结局发生在七天后的七点钟，那带着神秘色彩的“七”上。

约翰是个追求完美的人，只是这份完美过份极瑞，在剥夺了那些“罪恶者”生存权利的同时，也无法原谅自己的“罪恶”。他的笑，似一个诅咒，牵引着人们审视自身。

沙摩塞，这个办案慎密、行走孤独的老警察，对于社会上存在的丑陋早已司空见怪，他会告诉米尔斯遇到抢劫时不要叫救命而喊救火，他不要孩子，因为不想让孩子出生在这个肮脏的世界。他就这样不紧不慢地生活在这个肮脏的城市，冷眼旁观着一切。

米尔斯，脾气暴燥，却有着善良的心地，他似一个孩子般爱着家中的

宠物和妻子，却因这份对妻子的疼爱，在得知妻子被杀后无法抑制的悲痛终于爆发，以至于杀死了凶手。

执法者与上帝的传道者都有罪，活在这个世界上，谁能没罪呢？ 海明威曾说：“这个世界如此美好，值得人们为它奋斗” 。看完这部影片，这两句话我都不认同。

『叁』 讲述人罪孽的《七宗罪》评价很高，这部电影是否能够引起人们反思

《七宗罪》这部电影，牛逼就牛逼在这是一部不仅有着浓厚的宗教色彩而且又传达出一种绝望之后的希望的作品。凶手以杀戮传教，以上帝之名惩罚了天主教中的七种大罪。
这部电影可以让我们审视自己，在现实生活中，我们扮演的是智者还是愚者，是勇敢，热情，善良，宽容地面对生活，还是退缩，冷漠，邪恶，狭隘？这是这部电影留给了观众的思考的空间。
结局如果David死了那John在车上对他说的“在你的余生中看见自己的脸都会想起是我饶恕了你”和电影结局老威廉对警察说的“好好照顾他”又有什么意义？抑或是在这背后还有更大的阴谋？我还是搞不懂。
一部需要慢慢品的电影，并不只有七宗罪那么简单，威廉和大卫的对比，诉说了时代的变化，威廉对社会的态度以及大卫妻子的死等等这些展现，都值得琢磨。另外摩根弗里曼的演技实在是太棒了！

『肆』 七宗罪观后感200字就行 用心理学阐述

《七宗罪》讲述了老探员萨默塞特和年轻的警察米尔斯追查连续杀人案的故事，而杀人犯John是一个变态的宗教杀手，自己认为自己是神派来的使者，代表神以七宗罪的来惩罚世人。老探员萨默塞特则看多了太多的杀人案件和了解很多犯人的性格，在侦查案件事表现出冷静，特别是最后车子里，一句话都没有说，对于犯人解释表现出习惯以至于不去和犯人反驳。年轻的警察米尔斯一心想抓到犯人，但由于自己的冲动，被犯人诱导去犯罪，最终由执法者变成犯罪人。
影片的john不是没有文化，相反是受过高等教育，智商也极高，但反而却成为了危害社会的人。由于受到宗教的影响，加上社会上的种种原因，犯人就用七宗罪来衡量这个社会，对犯有七宗罪之一的人连续杀害，但对自己所犯的罪，却只有七宗罪之一的嫉妒，完全没有对自己杀人而感到罪恶，自己认为自己是替神办事，帮助社会。影片中的john是典型的反社会人员，他们的人格扭曲，开始异化，脱离现实社会思想。他想用七宗罪来告诫世人，但自己却制造人去犯七宗罪，而不是去感化和告诫，把罪行强加于别人，只顾及自己的计划，只是用自己的角度来看一个人的罪行，他所说的罪行其实都是他自己想的，没有用社会角度来衡量他的罪恶程度。所以犯人john是一个严重的偏执狂，思想过度夸张。
至于年轻的警察米尔斯，最终无法控制自己的情绪而私自杀死犯人。作为一个警察，却无法控制自己的情绪。可以看出，人性的脆弱，造成了冲动性犯罪。米尔斯是由于自己的性格，然后被外界因素影响也导致他犯罪，说明犯罪人有些是无法控制自己的性格而导致犯罪，性格也是犯罪的起源之一。
老探员萨默塞特则是办案的老手，当他看到犯人留下的暴食和贪婪时，知道犯人是以七宗罪来连续杀人，然后就去查看有关七宗罪的书，来猜测犯人的心理和作案方法。说明了，猜测犯人的心理是破案关键和线索。
《七宗罪》讲述了3个人的故事，表现出犯罪和心理的关联性。

『伍』 怎么评价电影《七宗罪》的

有人说《七宗罪》是对人性的警示，也有人认为《七宗罪》是对现实生活中美国持续不断发生的连环变态杀手事件的反映和体现。对我们来说，重视人性的健康发展，宣扬积极的人文思想，形成和谐的社会，才是我们工作奋斗的最终目的。人性，不应该被淹没在机械的工作中；人，不应该是无感情无思想无人性的机器；人与人之间也不应该只有相互攻击、相互伤害的关系。或许在现实生活中，很少有人能完全做到不犯七宗罪的任何一种，但是保持着一份健康的心态、热爱生活、尊重生命是我们能努力做到的。世界是美好的，我们应该为此奋斗！

『陆』 电影《七宗罪》观后感及疑点

我的理解就是：光头完成了他的所谓的“使命”
在我们看...一直到他自首的时候，光头分别杀了5人：暴食、贪婪、傲慢、傲慢、及色欲，这样我们会疑惑，还有：妒忌、暴怒呢？
这是光头的一个圈套，其实光头被年轻警察杀死是因为光头认为自己就是“妒忌”老警察看出了他的圈套，所以一直跟年轻的警察说：你杀了他，他就赢了！
当然“暴怒”就是年轻警察，他杀了光头，按法律，他也是犯死刑。
刚好七个...

『柒』 急求电影《七宗罪》英文观后感一篇~~~英文简单一些，本人英语水平不是很高谢谢!!

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》是一部热播烧脑悬疑剧，这部剧其实有什么寓意

在《七宗罪》的一开始，我认为它只是一部普通的悬疑电影罢了，打着宗教幌子、带着一对明星来骗钱的？但当《七宗罪》的结尾一来，我这个人都被这部电影征服了。摩根·福尔曼不愧是一辈子没拍过烂片的狠角色！用他饰演的探员William Somerset的一句台词就可以回答这个问题：“这是个美好的世界，值得我们为之奋斗。我同意后半句。”——Somerset.

『玖』 七宗罪的影片评价

经典黑色惊悚片
《七宗罪》是一部经典黑色惊悚片，剧情与天主教中的七种死罪紧密相连，但影片的高明之处在于没有机械性的将这七宗案件罗列在一起，而是从两名警探的视角出发，逐渐的推理向案件背后的真相，而凯文·史派西扮演的连环杀手不但以自首的方式让案情峰回路转，第六、第七宗案子的完成更是出人意料（网易评） 。
《七宗罪》的电影场景被导演大卫·芬奇布置得像后现代装置艺术的展览场，比如饕餮罪现场让人作呕的黄光色调意大利面、淫欲罪现在的红色血腥场景、骄傲罪里洁白房间显现的恐怖感，以及懒惰罪里污秽黝暗的绿色光影，当然混沌和黑暗才是影片的主调（《信息时报》评） 。
在这部电影中，导演大卫·芬奇不但打破好莱坞传统类型电影的框框，还不断把惊喜带给观众，使这部看似是警匪惊吓片的电影比其他同类制作的电影还要出色和震憾。另一方面，片中的美术指导与摄影技巧也是同样的严谨细致（新浪网评） 。暗色调的渲染、不停下雨的城市，昏暗的灯光和明暗处理，不论何时似乎都笼罩着一层诡异地面纱。不同如《十二宫》那种似有似无的迷雾效果，《七宗罪》的画面都是清晰的、残酷的乃至血淋淋的（戴威评） 。
具有社会意义
《七宗罪》因为深刻反映了道德沦丧等社会问题而广受好评（新浪网评） 。这部电影在某种程度上严肃地探讨了有意义的暴力与无意义的暴力的差别，同时也激起了观众的“原罪”意识（好莱坞影评人希弗·纽曼评）。影片中的七桩案件忽隐忽现，若明若暗，不时有“山穷水复疑无路，柳暗花明又一村”的境界。片中对犯罪心理学做了详尽的描述，而罪犯通过《圣经》的道德审判来杀人，更具社会意义。一个警察最终成为凶手计划的执行者，这是对社会和人生的讽刺（魏楚豫评）。
独特的电影语言
《七宗罪》的电影语言独特，并且与正统分道扬镳。大卫·芬奇把关注的焦点投向人性与社会的黑暗之处，影像风格强有力而且震撼人心。首先从电影的叙事结构上来说，七个案件、七项罪过，导演并没有分段拍摄，而是以两位侦探的视角为出发点，逐渐深入。影片绝大多数的剧情都是靠两位主演来支撑，影片的反角其实仅在影片的最后一幕出其不意地露面，但在其出现后立马加入大段独白，从而顺利地烘托其从头至尾无处不在的“幻感”。这部影片完全打破传统惊悚片的套路，给反角以前所未有的大段台词。虽然影片的宗旨是对人性中原罪的探讨，并且以七个匪夷所思的案件为依托，但导演在其中加入了大量麦尔斯与妻子、他妻子与沙摩塞的对话情节，这些看似与主题没有太大联系的情节，最终都成为烘托结局的绝佳素材，也从侧面突出了主题（戴威评） 。
其次是影片角色与人物的契合。弗里曼的豁达睿智、布拉德·皮特的血气方刚，都使得他们非常适合所扮演角色的个性。而编剧也在该片中创造出了一个与众不同的反角：约翰·杜精通古典文学，他所作一切的出发点竟然是要向这个邪恶世界挑战。他为每一宗原罪都找到一个代表人物，然后用以毒攻毒的方式置该人于死地。在他出场后的大段对白中，并没有什么深刻的理论，但却句句发人深省（戴威评） 。
《七宗罪》开创了一种不同于以往好莱坞影片的电影语言，片中的杀手杀人并非是因为嗜血，他是凭着强大的理论信条加上妄念来实施他自以为是的通过“审判”和布道来拯救的目的，这才是最可怕的。也许他平时连一只鸡也不杀，但是他找到了依据来实施对人的毛骨悚然的谋杀，这种恐怖并非是亲眼看到某种可怕场面时感官的自然反应，而是心理上的恐怖。这使得《七宗罪》这部看起来像是侦探片或类型化恐怖片的电影脱离了某些窠臼，而与美国社会现实生活建立起了心理上的联系（丛峰评）。

『拾』 七宗罪的观后感 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.