* The opening title sequence, which put Kyle Cooper (a dedicated title sequence director) on the map.
* AwesomeMusic: DavidBowie's "The Heart's Filthy Lesson" already sounds like a mental breakdown set to music. But playing it over the end credits, after THAT conclusion? Safe to say that you'll never not think of this film when you hear it.
* The scene where the detectives and the killer first encounter each other at the apartment building. From the moment the dark figure at the end of the hallway opens fire on them to the end of the harrowing chase through rain-soaked streets, the visuals, music, direction, action and choreography are all excellent.
** The scene following this where Mills, injured by the killer and enraged over having lost him, gets tired of waiting, goes against protocol and kicks in the door to the suspect's apartment. It's a small moment, but it says something that a scene featuring a cop breaking the law without a care in the world can still be kind of awesome.
* Somerset practices knife-throwing in his spare time. It's not a technique he uses regularly, just one of several things he does to stay sharp.
* The scenes where Somerset and Mills are preparing for their drive with John Doe.
* A villainous example in this exchange:
--> '''Mills''': I seem to remember us knocking on your door.
--> '''John Doe''': Oh that's right, and I seem to remember breaking your face. You're only alive because I didn't kill you.
* Even if the ending is still a total downer, [[spoiler: seeing Mills kill John Doe and empty his pistol into his corpse in revenge for his wife and unborn child is quite satisfying, considering what a nightmare his existence alone had been.]]
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