Notoriously clichéd and cockeyed, The Last Witch Hunter is a corrosive concept meshed together with all the creative comparison of a tangled ball of yarn. Can the crazy-minded coven that looks to promote the Witch Queen succeed and overcome the slaying methods of Kaulder and his crew of crusaders? Naturally, the Witch Queen presents an immediate danger to the cautious Kaulder because of their nostalgic convoluted conflicts previously. In addition to highlighting Kaulder and company’s expectations to wipe away the “broomstick broads”, the plot starts to thicken as concerns are brewing involving the resurrection of the menacing creature in the Witch Queen (Julie Englebrecht). “Witch” way to go? Who knows but only one witch hunter can answer that in Vin Diesel’s Kaulder from the flaccid fantasy THE LAST WITCH HUNTER "Witch" way to go? Who knows but only one witch hunter can answer that in Vin Diesel's Kaulder from the flaccid fantasy THE LAST WITCH HUNTER The no-nonsense Kaulder’s passion for witch hunting is the only straight-forward sign that we definitely have no doubt about one way or the other. Plus, we are introduced to Kaulder’s only close buddy Dolan 36 (Oscar-winning Michael Caine) and are given a vague backstory about Kaulder’s troubled past and histrionics. For instance, we know that Kaulder works steadily for the organization known as Axe and Cross. The mysterious vibes pertaining to Kaulder is somewhat realized. Also, Kaulder is joined by diminutive cleric sidekick Dolan 37 (Elijah Wood) as well in the quest to hunt down these wily witches. Kaulder may have an affinity for seeking and wreaking havoc on the notorious witches that threaten to corrupt the surroundings but he is partial to one witch in particular–the youngish Chloe (Rose Leslie from “Game of Thrones”) whose assistance is invaluable to the brooding Kaulder.
Kaulder needs to eradicate these magical misfits in his bid to deal with the tragic curse that has dominated his tattered psyche. Of course Kaulder is a tortured soul and has made it his mission in hunting down naughty witches throughout his eternal existence.
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Diesel, the movie action star that made his notable mark in money-making film franchises that include The Fast and the Furious and Riddick entries, sinks his teeth into another so-called explosive characterization in Hunter’s 800-year old immortal witch hunter Kaulder. The casting of the monotone and muscle-toned Vin Diesel seems inspired and logical for something as clumsily radical as The Last Witch Hunter. Instead, Hunter is incoherent and erratically ridiculous as it shamefully incorporates bits and pieces from other better-made schlocky showcases. There is nothing inherently wrong with upping the ante in boisterous bounciness but Hunter is unfocused and all over the map while never committing fully to being a distinctive, impish-minded vehicle. The Last Witch Hunter is about larger-than-life throwaway silly thrills and cherishes its berserk-style entertainment with unapologetic relish. Still, this mythical monstrosity feels annoyingly strained and tries too hard to sell its outrageous, synthetic spryness. Well, The Last Witch Hunter certainly will attract its share of followers as a gaudy and grainy fantasy adventure both big in scope and surreal absurdity. Nevertheless, the consensus is that sometimes high-tech jumbled junk is one enthusiast’s treasured and enjoyable guilty pleasure worth its mindlessness in gold.
So there are a number of reasons why the whimsical wasteland The Last Witch Hunter might be considered high-tech jumbled junk. Unfortunately, the “twitch of the witch” is explored in an over-the-top, messy and misplaced CGI-coated production of the outlandish The Last Witch Hunter.
However, another iconic horror-induced symbol–the witch–is making its way back into prominence in the cinema circles. Sure, zombies are still the norm in pop cultural media on both the big and small screen (anybody not heard of “The Walking Dead”?). It was all the rage at the box office that was experiencing a certain celluloid renaissance with overloading narratives within the “zombie zone”. One could not swing a dead cat without running into zombie-related cinema. There was a time when the movie gods were treating audiences to the omnipresence of zombies.
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