Though his character possesses the emotional nuance of a tree stump, Diesel makes up for it with a sense of conviction that makes him way too good for the movie’s script.ĭiesel’s odd facial mix between stone-faced simplicity and brotherly geniality carries “The Fast and the Furious” franchise: a warm-hearted series whose artistic value cinephiles, I hope, will one day admit. If the film has a virtue, that virtue’s name is Vin Diesel. This material is rife with glorious, schlocky potential, but it’s undercut by a bloated sense of weightiness.
Kaulder even has a magical witch compass that he uses as a tracking device. Another has Kaulder save an airplane by rubbing two crystals together so that they create enough friction in order to change the weather. One scene involves a New York bakery that turns insects into cupcakes. Except most of the time, the film injects itself with a tedious sense of self-seriousness that extinguishes any stray traces of fun left. It sounds like a synopsis that Meat Loaf might base his next album on. If you thought based on that premise that this movie sounds like the best thing since roller coasters and apple juice, I couldn’t really blame you. Together, they must uncover the secret behind this enchanted conspiracy, for the fate of the world rests in their hands. With the ability to jump through the dream world and the real world, Kaulder begrudgingly teams up with his priest buddy (the perpetually baby-faced Elijah Wood) and a foxy yet friendly witch named Chloe (Rose Leslie). Now in the modern day, with a lucrative career in the witch-killing business, Kaulder uncovers a sinister plot that threatens the alliance between witches and humans. Though he emerges victorious from their fierce battle, he is doomed to walk Earth forever. Here we have an identity crisis on a cinematic scale, and it makes for one disjointed slog of a film.Ĭarried into existence almost entirely on the back of its star, noted Dungeons and Dragons-enthusiast Vin Diesel, the film revolves around a famed warrior named Kaulder, cursed with immortality by an evil witch queen known as “The Witch Queen” (Julie Engelbrecht).
And just the same, it tries in vain to hide from its PG-13 rating with a forced grim, dark aesthetic.
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Other times, it seems to cater to young adult audiences with its modern revamps of classic fantasy tales. At times, it styles itself as a tribute to the kitschy sword-and-sandal flicks of the 1980s, much in the vein of “Conan the Barbarian” and “Highlander.” “The Last Witch Hunter” just doesn’t know what it wants to be. Novem(Official “The Last Witch Hunter” Facebook Page)
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