Review: Seventh Son (Cinema)

A common challenge with contemporary fantasy films is the inevitable comparison to Lord of the Rings. Peter Jackson’s adaptation established a benchmark for excellence within the genre, demonstrating its broad appeal beyond niche audiences and showcasing the potential of well-executed book adaptations. Tolkien’s trilogy, centered on Hobbits Sam and Frodo, the wizard Gandalf, the antagonist Sauron, and the Ring, provided a substantial narrative foundation that redefined fantasy cinema.

In contrast, Seventh Son highlights the challenges that arise when a film’s foundational story and world-building are underdeveloped. The Wardstone Chronicles, a series currently spanning thirteen books, lacks widespread recognition, yet served as the basis for this film. The narrative, both in the book and the film, centers on Tom Ward, an apprentice to Gregory, the last remaining Warden. Gregory undertakes the rigorous task of training Tom to defend the land against witches, trolls, ghosts, and other malevolent entities. Ben Barnes (known for his role as Prince Caspian in Narnia) portrays Tom, while Jeff Bridges embodies his mentor, Gregory. The cast also includes Julianne Moore as the formidable witch Malkin and Alicia Vikander as her alluring niece. Vikander delivers a commendable performance within Seventh Son’s ensemble. Her portrayal of Tom Ward’s love interest – a young witch with unique footwear – may not demand extraordinary acting prowess, but she imbues the role with credibility. She distinguishes herself as a compelling Swedish actress in Hollywood, arguably surpassing Noomi Rapace, whose roles in international productions have been less successful.

Despite the presence of established actors, the characters struggle to resonate and fail to elevate the film beyond mediocrity. Bridges delivers an unusual and somewhat underwhelming performance as the witch hunter Gregory, while Moore, typically a strong performer, is similarly unremarkable. Whether the issue stems from Sergey Bodrov’s direction or the challenges inherent in adapting the source material remains unclear, but the film falters on multiple levels. The fantasy elements themselves lack cohesion, resulting in a disjointed assemblage of witches, ghosts, dragons, and demons that never coalesce, despite the film’s extended runtime.

A more deliberate and comprehensive approach to world-building and narrative development would have been necessary to captivate the audience effectively. A deeper exploration of the characters’ motivations and rationale would also have been beneficial, as their actions often appear arbitrary. The audience is abruptly thrust into an unfamiliar world populated by perplexing characters who behave erratically. While the action sequences are adequate, they lack distinction, and the narrative predictability diminishes audience engagement. The production’s overall lack of momentum, coupled with the film’s extended post-production, underscores its inherent weaknesses. Ultimately, Seventh Son emerges as a subpar fantasy film featuring prominent actors who fail to deliver compelling performances. In Sweden, Seventh Son is primarily noted for the presence of the talented Alicia Vikander.