The Seeker: The Dark Is Rising
Alexander Ludwig, Ian McShane, Christopher Eccleston; Directed by David L. Cunningham
Yet another fantasy film has graced (or disgraced?) theatre screens everywhere. The chiseled features of yet another youth (in an irritating string of pre-teen male leads destined for modeling shoots) lies plastered over the canvas of light and color. Yet another "savior-of-the-world" plot to add to Hollywood's repertoire.
Our daring (yet unconvincingly reluctant) hero this time around is Will Stanton, an American youth whose family has been uprooted from their native soil to head for the quieter and quainter ideals of an English village. Whilst our Teen Magazine cover boy deals with the heartache of unrequited love, the frustration of being lost in the shuffle of a large family, and the psychological torment of a sadistically atrocious haircut, he learns that he is the last born of a secret group called "The Old Ones", an order of warriors who have made it their life's mission to fight the forces of their ambiguously-termed nemesis, "The Dark". Will finds himself with magic powers upon hitting his 14th birthday, soon coming to learn that these powers will come in handy for his mission; finding six signs (made of six different elements) that will stop the forces of "The Dark". He has five days. It seemed that the audience witnessing all of this had even longer.
All right. Imagine that someone tells you that you have the power to summon fire with the very mention of its name. Shortly afterwards, you find yourself in a dark and stony underground cavern. You raise your arms and blurt out "Fire!". A ring of flame leaps from the edges of the room, bringing light to every nook and cranny. You stare at your hands in wonder. What words next come from your lips? This is what Will said; "AWWWWWESOME!" Need I say any more? If you saw the preview and thought "Pass", I would call you prudent. If you have been a fan of Susan Cooper's beloved book series since you were a kid, saw the preview and thought "Maybe it won't be as bad as it seems...", then I weep for your broken childhood love. If you were like me and thought "Even if it is cheesy, it might turn out to be fun", then I'm giving you a Get Out Of Jail Free card with this review. It is not enough that we must be subjected to one-dimensional characters, painfully predictable dialogue, hackneyed plot lines, cliché villains, headache-inducing camera work, and one of the worst climaxes ever recorded. No. Not by a long shot.
The atrocity here runs deeper. Our intelligence is insulted, our tastes are ridiculed, and our freedom of choice turns on us and squeezes its fist around our throats. This film registers as a negative, a black hole, in the canon of cinematic creations. There were parts where I imagined the producers saying, "Just leave it that way. They'll never notice" or "You don't have to explain that, it'll fly right over their heads." I understand that the budget for this film was (gasp) a measly 20 million dollars, but lack of financial resources is NEVER, EVER an excuse to feed gold-plated crap to the masses.
Christopher Eccleston fans may get a slight quiver of a laugh out of his (failed) quirky turn as The Rider, the wraith-like shape shifting ambassador of "The Dark". But in all seriousness, I think he may have just needed a few extra bucks for a down payment on an Aston Martin he might have had his eye on. Otherwise the acting is not even a subject to be brought up, since cardboard cutouts don't require much effort to portray. The special effects are where all the money went, and they're fairly decent. Though I refuse to count this as praise, any more than I would appreciate a smattering of whipped cream on the top of a rancid pile of stinking, eight-week old peach cobbler.
In any fantasy, there are rules that must be set and limitations where magic is to be found. Otherwise, the whole thing becomes a free-for-all that never holds any kind of credibility. I don't think I have the time or the energy to describe all of the problems, violations, and inconsistencies I saw occur within this film that barely topped two hours. It would be a real challenge for someone to sit down and try to catch them all. There was no respect for the genre here, just a seemingly voracious need to exploit the current fantasy craze.
If after The Lord of the Rings, The Chronicles of Narnia, and Harry Potter, the bigwigs in the studios think that this sort of thing can pass as acceptable, then the legacy of Story is over already. Yes, I am being overly dramatic, but at this point, it’s too late to turn back. Time once lost is not recoverable, money once spent requires more labor to regain, and the wish to walk away from a story feeling like we’ve been entertained, had our minds and hearts opened, once dashed is hard pressed to be soothed back again from boundless feelings of deep discontent and a sense that we have been robbed. It breaks my heart, and I left this film genuinely livid.
Grading:
Story = D
Originality = F
DVD Features = N/A
Acting = C-
Enjoyability = D-
Visuals = B-
Overall = D-
|
