When one is stuck for an idea for writing a novel, stage play, TV script or screenplay, it certainly doesn't hurt to turn to the old standby that's fueled many a story before it -- the battle of good vs. evil. Since the beginning of time and probably until the end of it, writers have and will use that theme to fuel their stories. And since everyone can identify with that, it's not a bad gambit.
For reasons needing more exploration than is possible in a movie review, such stories often use the ploy of a young person being the chosen one to deal with such matters. Usually initially ignorant of their place in the coming battle, they must not only deal with the inherent dangers and peril, but also the temptation of going over to the other side.
From "The Wizard of Oz" through "The Lord of the Rings," "Star Wars" and "Harry Potter," such tales have entertained and tantalized readers and viewers for generations, with the best of them standing the tests of time by doing that generation after generation.
That's apparently been the case for "The Dark is Rising" series written by Susan Cooper back in the 1960s and '70s. Featuring a young protagonist swept up into the battle between the Light and the Dark, they've apparently been fairly successful with readers by following that very formula. Considering the substantial success of those other stories, it's no surprise that Hollywood has come knocking. Yet, upon hearing the cries from faithful readers of the series, one might think those responsible for the cinematic adaptation of the series' second book succumbed to the dark side.
Not being overly familiar with the stories, I can only report what I've read, but it appears great liberties have been taken with the story and its characters (changing time frames, locations, ages, nationalities and more). Of course, that's not the point of this sort of review -- as a movie must stand on its own regardless of its source material -- but upon seeing the finished product, this may be proof positive of the old adage of it being best to leave well enough alone.
Of course, it certainly doesn't help that we've been inundated with the "boy's chosen to battle evil" stories of recent, what with the "Potter" and "Rings" flicks dominating the box office. With the right touch, however, one could still make such a tale work, despite the inevitable familiarity and comparisons. Unfortunately, that touch here is anything but golden.
If it isn't bad enough that John Hodge's adaptation of Cooper's story feels half-baked at best, director David L. Cunningham has decided to treat the material like some sort of video game and/or stylistic but cheesy action film. Utilizing all sorts of ill-advised camera and editing tricks (the most loathsome being the footage that goes from regular to slow motion to try to emphasize the intensity of the moment), Cunningham over-directs the film within an inch of its life (his other favorite being the evildoer's horse repeatedly rearing up on its hind legs - natch -- in more slow motion, since, you know, that makes "The Rider" more intimidating).
He's played by Christopher Eccleston who tries his best to make the character scary, but he usually comes off far more silly in the standard sort of way such creations often appear in bad fantasy movies. He's more successful, however (especially when in his undercover guise), than Alexander Ludwig as the lead character. No offense to the young actor, but he's about as bland as they come, and without a strong, charismatic, and/or engaging lead, the film never has a chance of succeeding.
Ian Mcshane, Frances Conroy, James Cosmo and Jim Piddock round out the main cast, but simply can't do much with the lackluster material and underdeveloped characters (although one keeps expecting and even hoping that McShane will suddenly segue into "Deadwood" territory). In fact, the film's biggest issue -- among far too many -- is that we simply don't care, whether about the story or those trapped within it. And while the second half of the title is pretty much accurate, the first misrepresents what's in store for viewers.
Granted, young Will is seeking the six Signs (which will repress or destroy the villain -- that's never made clear), but that search -- which should be the fun, exciting, and/or at least interesting part of the movie -- is far more reactive than proactive, as such items too easily fall into his lap and/or don't take much effort to collect). Accordingly, the hunt for and recovery of the sextet is about as un-involving and humdrum as they come.
Quite unlikely to join the pantheon of classic "virtue vs. wicked" tales, "The Seeker: The Dark is Rising" suffers from far too many faults to work as intended. It clearly isn't evil (except, perhaps, to diehard fans of the source material), but it's certainly bad enough to rate as just a 3 out of 10.
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