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.
Mongol: The Rise of Genghis Khan (2007)
★★★ / ★★★★
Intended to be a trilogy, “Mongol,” directed by Sergei Bodrov, painted a beautiful but often complex picture about a man’s (the future Genghis Khan played by Tadanobu Asano) journey on how his experiences from when he was a child shaped his ideals and eventually came to a decision to force such ideas to all Mongolian people. I don’t know much about the history prior to Genghis Khan’s ascension to power so I’m not the right person to ask about whether or not it’s historically accurate. Instead, I’ll review this film from a tabula rasa perspective. After reading some of the critics’ reviews, I finally decided to watch the movie and had high expectations. While I did expect scenes that consisted of ferocious bloodbath, I got exactly that and more. I was surprised by the amount of heart that this film had to offer. I liked the fact that it showed more of Genghis Khan’s failures than his victories. Despite his unfortunate circumstances, he kept getting up and wanting to fight again so it was not difficult at all to root for him. There’s something truly inspiring from watching a person’s inner drive accumulate in spite of extremely difficult situations and be able to pull through. What didn’t work for me, however, were the mythical scenes. I found it frustrating whenever the picture would cut the scenes whenever Genghis Khan’s life was in danger. It would then jump to another scene when he would be perfectly okay and somehow evaded the situation. I get that faith was an important aspect of Genghis Khan’s life (and the fact that this film was being told in a first person point-of-view, which, as we all know, is not always objective) but I felt that there were too many of those scenes and it took me away from the situations. Regardless, there are still a lot to see here such as the stunning background imageries and well-defined (as well as graphic) battle scenes. If one is into historical epics that humanize a warrior’s journey to power instead of glamorizing it while at the same time dealing with issues such as the fragility of alliances, this is definitely the film to see. It goes to show that an epic film doesn’t need to come out of Hollywood as long as it is ambitious, while at the same time still able to deliver the elements that ultimately convince the audiences why they should care for the lead character.