Can somebody say Harry Potter Lite? Well, there's no doubt that director David L. Cunningham's (The Path to 9/11 miniseries) flimsy fantasy-actioner The Seeker: The Dark Is Rising will invite inevitable comparisons to J. K. Rowling's beloved and bespectacled Boy Wizard. Frank discovers this sparse superpower saga lacks the eye-popping definition and worldwide intrigue that made Harry Potter and his pithy pals both literary and cinematic sensations.

In fact, much of The Seeker's redundant roots can be found in familiar feisty fare as Potter and other contemporary sci-fi spectacles such as Narnia, Bridge to Terabithia and The Lord of the Rings flicks for the pimple-popping crowd. Cunningham's scope is myopic and minimal in a mystical yet meandering piece of malarkey that masquerades as a long-winded Tolkien treasure hunt for teenage thrill-seekers.

Ruthlessly slight and recycled The Seeker: The Dark Is Rising is based on the series of 70's-produced magical books by Susan Cooper that details the so-called colourful coming-of-age whimsy of a 14-year old Potter-esque protagonist named Will Stanton (Alexander Ludwig, "Air Bud 3"). Will has been slated to be the "Chosen One" when acting as the impressionable enforcer between the colliding worlds of Lightness and Darkness. The pubescent protector is the main key to saving the universe as his powers are magnified to the point of no return.

Screenwriter John Hodge (the Oscar-nominated scriber for "Trainspotting", "Shallow Grave") cranks out a rubber-stamped script marred in simplicity and pseudo-sensationalistic imagery.

There's nothing remotely imaginative or compelling that gives The Seeker its resounding lustre for grandiose giddiness. Basically, this is one uninvolved and uninteresting Potter knockoff that strives for a silly-minded examination pertaining to an ambiguous prophecy as equally confusing as the leading lad asked to fulfil such a surrealistic expectation. The quest for peace and prosperity in The Seeker is gruellingly tedious and the film never rises above its mediocrity as evidenced in the aimless acting, chequered writing and cheesy-induced computerized special effects.

Along for the ride in helping the young Will combat the "evil forces" are the Old Ones in a couple spirits played by former HBO personalities Frances Conroy ("Six Feet Under") and Ian McShane ("Deadwood"). Together, the good guys must defeat the fatalistic figurehead known as the Rider (Christopher Eccleston, "Heroes") along with a hoard of menacing ravens acting as his deadly accomplices. Because time is of the essence Will must come to grips with his sense of responsibility otherwise the wretched Rider and his callous crew will compromise the planet. Can the troubled Will overcome his reluctance to greatness and save the world from its insidious fate from animated riff raff?

In short, The Seeker: The Dark Is Rising is a poor man's morality tale for short-attention span youngsters that feed off of synthetic CGI-inspired fables that feature cosmetic gloss but fail on the substantive gumption. The action sequences are vastly empty-minded in its overwrought skin.

This is a feeble marketing ploy merely meant to capitalize on the heels of profitable kiddie fantasy features that arbitrarily stimulate the eye but never aspires beyond that obvious anticipation. The intensity factor for The Seeker may be a little too much for the smaller tykes to swallow but the older ones may tire of this proceeding with its gimmicky approach to one uniquely specialized teen's elusive redemption.

One may certainly try to seek but shall not find the razzle-dazzle ramblings behind the well intentioned literary sentiments of Cooper's introspective novels meant to green light the starved imaginations of young and old souls alike. Creatively stagnant and clumsily produced, The Seeker stumbles in its own deficient darkness.

The only measure for minor success in this stale story about a young hero's journey into courageous ambivalence is the fact that he could eagerly translate his majestic angst in a fleeting visual vacuum that dares to paint the clichéd corridors in reference to the obligatory confines of Good vs. Evil.

Frank Ochieng

© Frank Ochieng 2007