Starring Denzel Washington, Embeth Davidtz, John Goodman, Donald Sutherland Directed by Gregory Hoblit Rated R, with profanity, violence, satanic theme Running time 124 minutes Jack give this film a rating of 5 out of 10

(Jan. 16, 1998) -- Evil likes company. It spreads from person to person, using guile and temptation to move through people like a virus. That basic philosophy is at the core of Fallen, a new satanic thriller starring Denzel Washington.

Fallen would love to be considered this year's Seven, and co-opts a lot of that hit's murky style (and even the jerky opening credit sequence). It falls short of such a lofty aim, coming off as more of a lesser derivative than a legitimate expansion.

Still, both films use the detective thriller to exploit dark theological issues. Seven simply did it with more originality and cohesiveness, though Fallen manages moments of tense excitement, especially in the opening and closing segments.

Washington stars as homicide detective John Hobbes who's recently earned kudos for the capture of a demonic serial killer (Elias Koteas). As the film opens, Hobbes is among the witnesses at the killer's execution. The killer goes to his death unrepentant -- and leaves behind a vague but ominous threat.

It seems the killer is, indeed, possessed by Satan; just before he dies he passes on the spirit by touching a prison guard. As the film progresses, the spirit is passed on and on, each time a character touches another. Thus the vengeful spirit can stalk Hobbes in the guise of literally anyone, from a little girl to a fellow cop to a passing stranger.

And the only indication of his presence is a penchant for singing a favorite song -- the Rolling Stones' Time Is on My Side.

Well, actually, Hobbes first becomes aware that the evil spirit is alive because additional murders are discovered that copy the methods employed by the executed murderer. But soon it becomes obvious that Hobbes is the primary target for the spirit's rage.

As scripted by Nicholas Kazan, Fallen sets up an extensive range of theological rules -- it's what I call a gobble-de-gook movie (a film in which you have to buy into a detailed list of rules.) And in some ways, Kazan's premise creates more questions than answers. (If it only takes a mere touch for evil to pass from person to person, we'd have all gone to hell in a hand basket a long time ago.)

Director Gregory Hoblet (of Primal Fear) generates first-rate performances, but this overly long film becomes bogged down with the exposition of endless spiritual transfers in its rather dull middle portion. It's hard to get excited about the fight between good and evil when the antagonist changes every few minutes. However, the promise of suspense created in the opening prison scene is finally realized in a tense, well-staged finale.

Washington elevates the project with his peculiar grace and undeniable warmth as an actor, and is given high-quality support from John Goodman and James Gandolfini as fellow detectives, Donald Sutherland as his precinct captain, and Embeth Davidtz, as a mysterious woman with ties to one of the murders being investigated. She also happens to be a theology professor (of course), which makes her Hobbes' guide through the satanic maze.