The Last Witch Hunter

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Title :The Last Witch Hunter (2015)
Release : 15 January 2016
Rating :6.0/10
Runtime: 1h 46min
Genre :Action, Adventure, Fantasy
Stars :Vin Diesel, Rose Leslie, Elijah Wood

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The Last Witch Hunter review

Rugged sword-and-sorcery heroes and hard-boiled detectives each have their origins within the pulp journal custom, so it’s not that far-fetched to mix them, as The Final Witch Hunter tries to do by casting Vin Diesel as an immortal medieval powerful man in a secret New York underworld of modern-day magicians. Muscling into magic-potion speakeasies and decrepit witch squats hidden behind gummy bear timber, Diesel’s trench-coat-clad Kaulder encounters hookah-smoking octogenarian femme fatales stored younger and exquisite by sorcery and shape-shifters who resemble fidgety meth tweakers of their true kind. When he isn’t utilizing alchemy to mud crime scenes for spell fragments or getting knocked out by reminiscence smoke (apparently the witching world’s equal of getting pistol-whipped on the again of the pinnacle), he beds stewardesses and fixes vintage pocket watches in his Central Park pad.

The script is geek central, involving all the things from Civil Conflict trivia to role-playing recreation terminology, and has its share of dork cool (e.g., the witches’ authorized system, wherein jurists seek the advice of the tarot through the trial), so it’s a disgrace that The Final Witch Hunter finally ends up crumbling into one other generic showdown of murky fantasy results and snatched artifacts, with a ultimate shot that’s actually framed round a door to potential sequels. Maybe a part of the blame rests on the present enterprise mannequin of franchises, origin re-boots, and pre-planned trilogies, which has made the business allergic to telling precise tales, as if leaving audiences happy would possibly maintain them from coming again in two or three years. These days, effects-heavy fantasy flicks are typically made in halves or thirds, and The Final Witch Hunter isn’t any exception.

Written by a mind belief of goofily over-serious darkish fantasy franchise-launch veterans (Priest’s Cory Goodman, Dracula Untold’s Matt Sazama and Burk Sharpless), The Final Witch Hunter is ready in a world the place magic is actual, however stored secret, protected by a centuries-long peace accord between occult and spiritual authorities. Kaulder—who slew a witch queen again within the Center Ages, and was cursed to by no means die—works as the road muscle for a Catholic order, confiscating unlawful climate runes and nabbing the occasional warlock criminal, assisted by his secretary (Michael Caine), an aged priest he addresses solely as “Child.” There’s a particular attraction to this mashup of gumshoe thriller and fantasy, with Kaulder because the world-weary P.I. sort who’s earned his cynicism by truly being the oldest man on Earth. (Diesel’s understated charisma, nightclub bouncer physique, and deep croak of a voice—all used to nice impact within the genre-crossing Riddick motion pictures—assist lots.)

If nothing else, The Final Witch Hunter deserves some factors for making an attempt to visualise a world the place magic is one thing like a tumorous outgrowth of the pure world, eschewing dusty books and the standard indistinguishable globs of blue-green power in favor of spells that erupt as swarms of butterflies or tangles of gnarled roots, solid with items of Iceland spar and 55-gallon drums of cemetery filth. And although its dialogue is riddled with comically clunky exposition (pattern trade: “We took all essentially the most highly effective witches on the planet and put them in a single place.” “The witch jail!”), the film has simply sufficient offbeat particulars and simply sufficient of a humorousness to really feel slightly lived-in.

However then comes the intercut climax, wherein our hero—who, as much as that second, has solved issues with a mixture of wits, fists, and flirting—breaks out the flaming sword to defeat a generic cackling evil that’s poised to wipe out the human race regardless of having all of two henchmen, and being not way more than a servant to future evils that may want defeating. The Final Witch Hunter is at its most interesting when its title character is simply pounding the pavement and explaining clues out loud, and at its most unremarkable when it angles for one thing larger: a collection, which the film—both naively or cynically—presents because the future Kaulder should settle for. Say what you’ll in regards to the Joseph Campbell-style hero’s journey, however not less than it’s higher than the hero’s contract extension.



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