Le septième fils

It isn't easy to make a good fantasy film – as borne out by Seventh Son, which has suffered a particularly arduous journey to the silver screen. Originally slated for release in February 2013, its visual effects house went bankrupt and its studio, Legendary Pictures, parted ways with distributor Warner Bros. The film that's finally stumbling into cinemas almost two full years later (courtesy of Universal Pictures) should be an unmitigated disaster. Surprisingly, it's not. The film isn't exactly great, but it's a largely entertaining romp that's more inspired by than strictly faithful to Joseph Delaney's series of bestselling books.

Tom Ward (Ben Barnes) is the seventh son of a seventh son: a rare genetic lineage that sets him on the path to becoming a Spook a.k.a., a slayer of the myriad evil creatures that haunt the land. He becomes the apprentice of grizzled, alcohol-addled John Gregory (Jeff Bridges), shortly after Mother Malkin (Julianne Moore), an evil witch, escapes her earthly prison to claim the world as her own. With only a week to go before the blood moon rises, Tom trains with Gregory but finds himself distracted by the charms of Alice (Alicia Vikander) – a mysterious young lady with a few secrets of her own.

While hardly groundbreaking in any way, the story unfolds with unexpected punch. Tom's story – one in which he comes of age and comes into his own – is accompanied by plenty of action sequences, courtesy of bone-crunching battles between men and other men (and women) who turn into soaring, swooping, fire-breathing dragons. Tom tumbles over a cliff to avoid a pursuing monster, Gregory battles a gigantic bear, and wraiths of smoke and despair trail after the Spook and his apprentice as they make their way through a dark, brooding forest.

It helps, too, that the film is leavened by a welcome bite of humour. Seventh Son doesn't take itself as deadly seriously as some of its brethren in the fantasy genre do. That's why Gregory plunges into a bar brawl armed with nothing more than his flagon of beer, and Tom is allowed to make quite a few cutting remarks about his purported mentor that are heartily returned with interest.

Ardent fans of Delaney's books should be warned: Seventh Son riffs on elements of the novels rather than staying strictly true to them. For one thing, Tom is considerably older in the film. Most noticeably, Malkin is a very different character than she is on the page. She's given more depth and complexity here, her vile behaviour explained, if not strictly justified by, her past entanglements with Gregory. It's actually quite nice to see a fantasy world that doesn't simply perpetuate the trope of the wicked witch, but instead dreams up characters that fall along a broad spectrum of morality.

Barnes is well-cast as Tom, holding his own as both a hero and quasi-romantic lead. He shares a sweet, though not particularly electric, chemistry with Vikander who is, thankfully, called upon to do more than simper and flirt. But there are considerably more thrills to be had with Bridges, who manages to fold charm, menace and darkness into Gregory; and Moore, who's clearly having plenty of fun cutting her way through scenes as a whirlwind of madness and malevolence.

By all accounts, Seventh Son should really have been an outright flop. It may still play as such to any fantasy aficionados who are demanding greatness on the level of The Lord Of The Rings. But, for pretty much everyone else, Seventh Son is an entertaining, undemanding film with some good ideas and a lot of fun moments. It's not a particularly great example of its genre but, given its troubled production history, that it's not completely execrable is probably nothing short of a miracle.

Hollywood has of late had a lousy track record of fantasy action epics, and 'Seventh Son', which arrives just in time to close off the year, is yet another blemish to add to that list. Delayed nearly a year while its production company Legendary switched studios, this Universal release assembles A-listers Jeff Bridges and Julianne Moore with 'The Chronicles of Narnia' star Ben Barnes for an expensive big- screen adaptation of the first book of Joseph Delaney's 'The Wardstone Chronicles' against tawdry sets and second-rate visual effects.

We aren't usually that critical of a film's production design, but there is just something awfully dreary about the widescreen world of Russian director Sergei Bodrov's debut English-language feature. Indeed, the only human city where any of the action takes place looks like it was rented right after the cast and crew of 'Game of Thrones' abandoned it, while the mountain fortress which principal villain Mother Malkin makes her not-so-humble abode seems like it was designed for some 1960s B-grade science-fiction movie. The ugliness of these green-screened sets is even more obvious against the occasional picturesque Canadian backdrops, which cinematographer Newton Thomas Sigel ably captures to evoke a majestic 'Lord of the Rings' feel.

Alas the unattractive visuals are just one of the litany of complaints that you are likely to have. What production designer Dante Ferretti fails to accomplish in sets, visual effects designer John Dykstra also fails to make up for in post-production. Whether the oversized orcs or shape-shifting witches (Moore and her fellow consort Djimon Hounsou transform into dragons, while others transform into creatures with reptilian-like tongues or Hindu deity-like arms), the CG effects for what was once intended to be a franchise tentpole are both unimaginatively conceived and poorly executed, even more appalling when viewed in post-conversion 3D or worse on an IMAX screen.

And yet to fault its technical shortcomings seems at least a tad unfair, in particular because the movie's problems are much more fundamental. For one, despite boasting an impressive team of screenwriters including Matt Greenberg, Charles Leavitt and Steven Knight, there is hardly a story here. Without any context, we start with a younger Jeff Bridges imprisoning the Queen Witch, Mother Malkin (Moore), up in the mountains. The impending dawn of the once-a-century blood moon lends her strength to break out of her metal confines, and in an early sequence, confront her jailer Master Gregory (Bridges) and his not-so-lucky apprentice Billy (Game of Thrones' Kit Harington). When that reunion ends with Billy dead, Gregory sets out recruiting a new "seventh son of a seventh son", Thomas (Barnes), who so happens to be suffering from elliptic visions of Gregory and Malkin.

In narrative jargon, Thomas is The Chosen One, the anointed protégé who under the tutelage of Master Gregory will become his very equal and take his place among the elite group of knights who call themselves the Falcon. There is no doubt during the movie, even when his life seems to be in mortal danger, that Thomas will live to see the death of Mother Malkin and perhaps even the light of another sequel. There is also no doubt, despite Gregory's initial reservations, that Thomas will be ready within the span of just seven days to defeat the evil that Malkin possesses within her goth-like getup. And for that matter, there is no doubt that Thomas will find true love in Alice (Swedish actress Alicia Vikander), a witch whom he rescues from the town mob and who turns out to be the daughter of Malkin's younger sister.

The plotting is as straight-forward as it gets, and functions no more than to connect the numerous noisy action sequences together. There is also hardly any character to speak of, each one of them leading or supporting mere stock types that you would be familiar with from countless other such fantasy flicks. The latter is also why we feel sorry for Bridges, a fine actor who's played the grizzled veteran one too many times of late in 'R.I.P.D.' and 'The Giver' and is here trying not to sound condescending while delivering lame one-liners with a distinct twang. Moore too is an equally fine actress in her own right utterly wasted in a thankless role, and together, what chemistry the pair had in 'The Big Lebowski' is sorely missing in their first reunion since.

If the decision to cast two acclaimed actors to lend legitimacy to the project does nothing to help the film, the casting of its younger actors also fails to do it any favours. Barnes tries his best to project fresh-eyed enthusiasm, but the late decision to cast the 31- year-old actor in the role of a 17-year-old – instead of 'The Hunger Games'' Sam Claflin is ultimately a misguided one. He also shares too little chemistry with Vikander, who looks appropriately beguiling but is little much else. Barnes and Vikander are also stuck in an awkward romance which is bound to inspire some unintended giggles especially for a sequence where the two supposedly exchange loving glances while lying together in bed.

There is hardly anything fascinating about 'Seventh Son', whose title belongs better in a tongue twister than in an expensive and extravagant swords-and-dragons epic. Yes, there is good reason indeed why former studio Warner Bros had dragged its feet in releasing this, and what a relief it must have felt that it need not try to justify why it decided to do so when it already has an entire trilogy in 'The Hobbit'. No matter that the director is a two-time Academy Award nominee for his Russian films 'Prisoner of the Mountains' and 'Mongol', his Hollywood foray is an embarrassing misstep that he would no doubt want to be forgotten as soon as possible. He needn't worry; to spare yourself the agony of sitting through yet another disappointing fantasy wanna-be epic, go find any one of the other sons and just avoid the Seventh.

Set in medieval times in Europe somewhere, "Seventh Son" brings us back to a time when supernatural beings like witches, ghosts, ghasts and the like wreak terror on the countryside. The people depend on a special knight called the "Spook" to fight these creatures and restore peace.

Master Gregory is the last spook and he is getting on in age. In his last big fight with the grand witch Mother Malkin, he lost his latest apprentice Billy. Gregory searches for another "seventh son of a seventh son" to take his place.

His quest leads him to the farm of the Wards. As the young impulsive Tom heeds the Spook's call, will he be up to the task of becoming the new Spook before Mother Malkin fully regains her powers by the night of the blood moon? Or will Tom's falling for the charms of pretty Alice distract him from his destiny?

Cut down to its basic storyline, you would see a very common basic plot in many an adventure film: an old master training an heir-apparent to his position. This film takes that plot and brings into it fantastic monsters in action and teenage romance in bloom.

Ben Barnes plays Tom Ward. Barnes first gained attention as Prince Caspian in the Narnia films, though his career did not really fly too much. He takes another stab at stardom with yet another action fantasy with this one. Already a adult man, Barnes seemed too old for the character he is supposed to play. Anyhow, he still has a youthful mien to pull it off. I think he was cast so that a romance angle can be developed as well.

Jeff Bridges plays Master Gregory. He is at his hammy best here and he looks like he had a good time filming this. In fact, Bridges felt like he just reprised his role in last year's "RIPD", where he was a senior ghost policeman training a new recruit. Bridges had some witty ripostes which added the requisite humor to the proceedings.

Julianne Moore goes all campy playing Mother Malkin with evil relish and glee. She gets to wear more witchy-chic than Maleficent and she seemed to be having a field day with this over-the-top character, much unlike the more serious and quiet ones she is more known for. In addition, she and her coven of powerful witches (played by Antje Traue, Djimon Hounsou, Jason Scott Lee, among others) get to transform into dragons and similarly fantastic beasts, thanks to neat and nifty computer- generated special effects.

This film is based on the young adult novel "The Spook's Apprentice" written by Joseph Delaney. Unlike the atmospheric creepy book it was based on, the film is makes it more of an action fantasy for cinematic verve. Tom and Alice in the book are both pre-teens. The witch characters did not fit their descriptions in the book as well. They did not turn into animals, for one. In fact, one of the side characters, the deformed humanoid Tusk, even shifts over from evil in the book to good in the film.

The visual effects were hit and miss, some (like the creature transformations) were impressive and seamless, but some (like the conflagrations) looked old-fashioned and garishly fake. Book fans may be disappointed by the major deviations from the original tale. Those who are unfamiliar with the book though will be entertained, but will definitely feel that the story being told by director Sergey Bodrov follows a tired and very familiar formula. 6/10.

I'm afraid after many delays and with a February release date in the US, this would flop. I would understand it in a way. It looks like a cheap B-movie. And a B-movie it is: offers nothing new, nothing special, it exists only to entertain. And you know what? I LOVE that. I'm THAT kind of person.

Despite it is based on a book, the story is so average it hurts. And while the characters are also clichéd, at least they have some flesh, thanks to the actors and the director.

It has some nice monster action set pieces and the pace moves in a good fashion. While its production cost is nowhere to the likes of a Hobbit movie, the effects are great and I was very surprised that the 3D actually worked.

My advise: If you want an experience like the Hobbit or the Harry Potter movies, don't watch this. But if you like fantasy movies like Willow or Dragonheart (and maybe Stardust), give it a chance.

I can see why critics and people in general are dissing the film. I think the problem with the film, is that it's director, Sergey Bodrov has never done a film of this scope. At least, never a film with a budget of 95 million dollars.

The film is 102 minutes long. Had it been longer, I think many more "things" could have been better explained. It just seemed some of the scenes were out of sequence, or, didn't have enough detail. Had this film had Peter Jackson, or Guillermo del Toro at the helm, it would have been an entirely different film. Considering the LOTR series each had about the same budget, this film could have been so much more.

The film seemed fragmented. It reminded me of the failed film Eragon, where you suddenly go from farm boy, to instantly learning Elvish, knowing how to fight, and just "knowing" everything. We need to see the characters develop.

Now, I'm a hard core fan of this genre. I'll be the first to admit, that pairing Jeff Bridges with Julianne Moore was a great idea. While we get more background on Bridge's character than we do with other characters in the film, their performances, while quite acceptable could have been much better. Personally, I thought Bridges portrayal of Master Gregory was well executed. Again, I think the director was perhaps the main problem, reigning in their performances.

I keep seeing articles and reviews from people who've read the book, then bash the film because the film itself is so far separated from the text. I don't like to compare books to film, simply because you can go into so much more detail in a book.

I have to say it. I still enjoyed the film even though it left a lot of unanswered questions for me. If you like the fantasy series, as I do, then go into the film without preconceptions, and, enjoy it for what it is, entertainment. While it's not the best film to ever hit the big screen, it's still fun.