And Bridges is saddled with an awful accent he never masters.” Virtually every performance falls flat, aided no doubt by the vapid dialogue. Bodrov certainly knows his way around epics, as his excellent Oscar-nominated films Mongol and Prisoner of the Mountains attest.

Los Angeles Times‘ Betsy Sharkey notes, “For acclaimed Russian director Bodrov, this foray into English-language filmmaking is a rare fail. If anything, the movie offers up the guilty pleasure of seeing Bridges and Moore duel it out in front of countless green screens and a few stunning Canadian backdrops - two great actors clawing at each other with magic staffs and fake fire, trying to survive in the netherworld of heroic kitsch.” It’s as if the film had entered Legendary’s assembly line with some promise but then started clogging up the machine, its release delayed for nearly two years due to postproduction woes and issues with then-partner Warner Bros.”īodrov’s work “is certainly watchable but far from memorable, and though a closing scene leaves things open for a sequel, business realities may decide otherwise. His style here is serviceable though hardly distinguishing, and nothing in the Seventh Son really pops off the screen, with three credited editors cramming everything into a neat 100 minutes. … Bodrov is best known for his Oscar-nominated drama Prisoner of the Mountains, which he followed with international action flicks including Mongol: The Rise of Genghis Kahn. The Hollywood Reporter‘s Jordan Mintzer writes that it “takes an A-list crew and cast - including Moore sporting a black feather dress and matching eyeliner - and goes nowhere new with it, investing lots in VFX and locations but not enough in an original story anyone cares about.

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