Seventh Son (2014)
★★ / ★★★★
If one signs up only for the scenery then “Seventh Son,” loosely based upon Joseph Delaney’s novel “The Spook’s Apprentice,” receives a most enthusiastic recommendation. It offers eye-catching vistas of verdant meadows, ominous forests, tranquil lakeside homes, perilous cliffs, a cloister hidden in the mountains, a walled but lively city burned to the ground. But outside the handful of terrific visuals, the story is a bore for the most part. It is correct for the plot to be straightforward: Master Gregory (Jeff Bridges), the last knight of his kind, is on a mission to end the life of a witch, Mother Malkin (Julianne Moore), who killed his apprentice of ten years (Kit Harrington). The journey toward the destination, however, is problematic: it is riddled with pesky asides, like a romance between Tom Ward (Ben Barnes), the new apprentice, and Alice (Alicia Vikander), a half-witch whose mother is loyal to Mother Malkin. I found most of the action sequences to be somewhat exciting and well-choreographed. But nearly every time the action dies down and the two lovebirds must exchange words and make physical contact, the movie screeches to a halt. It isn’t that Barnes and Vikander do not share chemistry. A looming apocalypse is simply far bigger than whether or not they’ll end up together. Perhaps a more crucial shortcoming: We never get a chance to appreciate the apprenticeship, what it entails outside wielding weapons and learning concoctions. As a result, the picture is like store-bought soup: if not without flavor, it is missing a memorable personality, spices that make the dish pop or taste special. Screenplay by Charles Leavitt and Steven Knight. Directed by Sergei Bodrov.
The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
★★ / ★★★★
Edmund (Skandar Keynes) and Lucy (Georgie Henley), youngest of the Pevensie siblings, were left in England to live their cousin Eustace (Will Poulter) while their parents and older siblings, Susan (Anna Popplewell) and Peter (William Moseley), lived in the United States. Edmund and Lucy did not get along with their cousin, but the three of them ended up in Narnia when a painting of an ocean with a ship turned to life. They were taken aboard by Caspian’s (Ben Barnes) crew and explained to them their mission of collecting seven swords and defeating an evil green mist. The third installment of “The Chronicles of Narnia” franchise, based on C.S. Lewis’ books, was ultimately disappointing because it failed to capture a right balance between magic and heart. While it was heavy on the special and visual effects, the fighting scenes felt empty because the picture did not establish a good reason why they were fighting in the first place. Yes, the green mist was obviously a negative entity, but I had questions about who was controlling the mist and what was the common theme that tied the various characters together. Having faith in the majestic Aslan simply did not cut it because the kids from the first two films have grown up. Therefore, their personal challenges, too, should have evolved. The way they chose to deal with their respective challenges should have had a certain level of complexity and it should have always been at the forefront. Hints of such challenges involved Edmund and his feeling that he was always second best. Now that his brother was no longer allowed in Narnia, he thought that it was his turn to be a leader. His expectations were dampened when Caspian was seen as the leader instead of him. Aside from two measly scenes, one was when Edmund tried to enlist in the army and the other when he and Caspian had an argument in a cavern full of gold, the movie did not tackle Edmund’s insecurity in a thoughtful way. The same happened to Lucy as she craved to have her sister’s beauty. Her obsession led her to a dangerous spell but aside from one or two scenes, her problems were seemingly solved. The film should have taken the opportunity to explore that angle because so many girls suffer from low esteem. Sacrificing two or three battle sequences would have been more than fair. I’ve heard that the writers, Christopher Markus, Stephen McFeely, and Michael Petroni, made some drastic changes from the original material. I was fine with it as long as they proved to me that the changes were made for the better. I wasn’t convinced. Despite “The Chronicles of Narnia: The Voyage of the Dawn Treader,” directed by Michael Apted, looking gorgeous as usual, it was choppy, lacked real tension, and the core characters felt secondary. That was an unforgivable sin.