![]() ![]() As far as the story goes the characters and mythology have plenty to work with in order to make the film interesting and original, yet somewhere between pre-production, on set filming, and post production, there was a breakdown in vision and conceptualization between studio and director. Armed with only contrived story devices, they ultimately end up making it all quite confusing – and wholly unengaging – for the audience. The film reeks of a familiar stench, one that out-of-touch studio executives tend to spray during their misguided attempts to make a film relatable. Over the past 13 months, it changed distribution studios and no doubt faced edit after edit after edit in an effort to contemporize it but what emerged is a shining example of how exactly Hollywood tends to scorch anything even remotely based in medieval fantasy. Originally slated to be released in January of 2014, the film hit production delays and was pushed back a whole year until finally being released to the American public on February 6th. Seventh Son is based on a book (wouldn’t ya know it) by British author Joseph Delany, titled “The Last Apprentice” (or “The Spook’s Apprentice”, if you’re in a bookstore outside the U.S.) and is penned by three separate screenwriters, Charles Leavitt, Steven Knight, and Matt Greenberg. Such a violent, quick, and baffling sensation is what most people will no doubt experience after viewing Bodrov’s latest American feature, Seventh Son. Tragically he took his rising wave of success and rode it to a place where fantasy epics tend to get bonked over the head and thrown haphazardly into theaters: Hollywood, California. ![]() Working mostly within his Russian homeland, director Sergei Bodrov earned critical acclaim with the success of his two action adventure epics, Prisoner of the Mountains (1996) and Mongol: The Rise of Genghis Khan (2007), thus proving he knows what it takes to intertwine the genre with fantasy and showcase it all with a graceful flair.
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