Solomon Kane (2012)
Captain Solomon Kane is a brutally efficient 16th Century killing machine. Armed with his signature pistols, cutlass and rapier, he and his men unleash their bloodlust as they fight for England in war after war on all continents. As the story opens, Kane and his band of pillagers are carving a bloody path through hordes of defenders in an exotic city in northern Africa. But, when Kane decides to attack a mysterious nearby castle to plunder its rumored riches, his mission takes a fateful turn. One by one, Kane's men are picked off by demonic creatures until he alone is left to face the Devil's own Reaper -- dispatched from the depths of Hell to lay claim to his hopelessly corrupt soul. Though Kane at last manages to escape, he knows that he now must redeem himself by renouncing violence and devoting himself wholly to a life of peace and purity. -- (C) Official Site … More
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Critic Reviews for Solomon Kane
"Solomon Kane" succeeds by embracing its identity as a straightforward genre exercise, complete with bone-crunching and blood-spurting action. By not aiming for more, it hits its target.
Who knew there were skinhead and zombie equivalents in late-Elizabethan England?
It's hardly original (and Max von Sydow is wasted in brief scenes as Kane's father), but "Solomon Kane" is worthy of big-screen appreciation.
Mr. Basset is too enamored of the usual action film clichés ... But he has a graphic visual style that suits the simplistic material and he keeps you watching even as the wet, sucking sounds of skewered flesh grows tedious.
It's not everyone's cup of bloody tea, but an unapologetic genre treat for those willing to dive in.
Formulaic, but it settles down into a fine if square-jawed groove, delivering rousing adventure of a sort which should generally please fans of throwback, morally black-and-white entertainment.
Director Michael J. Bassett seems to know how to correctly handle the material, giving it a lightness of touch but also enough bloody and shocking spectacle to stir up viewers.
Writer/director Michael J. Bassett stages the carnage under so much rain-soaked filth, you can almost smell the stench. It's a good stench.
Uneven and far less deep that it believes itself to be, Solomon Kane is nevertheless a solid B-movie diversion that excels when sticking to its pulpy, action-fantasy roots.
The script by director Michael J. Bassett wallows in formula and takes itself too seriously.
If some of the special effects aren't so special and the theology is bit foggy, director Bassett knows that there is almost nothing more inherently scary than a dark forest and leading man Purefoy brings conviction to Kane.
Bassett gives us plenty of reasons to respect his tale, then refuses to break that contract with cheap tricks or shoddy delivery.
The fight choreography has a gracefulness bordering on elegance, and so it's a shame that these standalone thrills aren't better integrated into the film as a fully formed narrative whole.
Audience Reviews for Solomon Kane
Michael J. Bassett and team know their Solomon Kane comics, that much is clear. I actually went through a spell of reading them in the 80's and 90's and I always thought they would make a great film, should the right director come along. Michael J. Bassett did a good job with what he had to work with but I feel this should have been better. The main problem is that too much is packed into too short an amount of time. Seriously, this could have been an awesome trilogy. The beginning sequence alone could have been half a film. If Peter Jackson can stretch The Hobbit over several films then why couldn't they make more than one Solomon Kane given that they have nearly 40 years of stories to choose from. Sure it doesn't have the same fan base but I guarantee it soon would have if handled right. There is a real lack of ambition here, Michael J. Bassett tries to show us that the story has legs but in doing so leaves nothing left for a future film. Maybe he didn't want to make a future film but I'd guess that it is more likely that the producers stuck their uncreative oar in and he just didn't get the backing he or the story deserved so did everything he could in one go (this is why we get so many stupid prequels). It's a good action film but overall it's a wasted opportunity but credit due.
It started out with some promise, with decent performance by Peter Postlethwaite (I hope for posterity, this wasn't his last film!), but it devolved into an incomprehensible slurry at the end with bigger holes in the plot than had the Titanic. The costumes and special effects were commendable -- but what really was the point of it all?More
Decent mystery adventure film based on old pulp novels that lives off its really great locations and set pieces that look and feel real, making for a great gloomy medieval atmosphere. Even though the characters remain somewhat one-dimensional and the showdown is rather short, the film does never fail to entertain.More
A murderous pirate renounces his evil ways in the hope of saving his soul from damnation but is drawn back to his violent ways when an evil sorcerer's army invades the land. Solomon Kane reminded me of a Hammer Studios period chiller done in the style of The Lord Of The Rings. The medieval setting and religious imagery of something like The Witchfinder General combine with some bloody, rain and mud soaked battle sequences to create a believably grimy world of superstition and violence that makes a nice backdrop to James Purefoy's intense central performance and it's this grittiness that makes it stand out from the never-ending crowd of Hollywood style comic strip action films. Unfortunately and almost inevitably, the script lets the side down; this is the third fantasy inspired action film I've seen this week, and the third that includes a plot revolving around a tough, amoral warrior that faces his nemesis to rescue a kidnapped damsel in distress. How original. And anyone who fails to guess the identity of the masked villain would have to be a paste eater on a Ralph Wiggum level. The cheesy CGI monsters tacked on to the beginning and end of this otherwise brutally realistic hack and slasher clearly compromise its vision and it's a shame that film makers today feel the need to play to the cheap seats in this way, every single time. Still, thanks to some strong performances and quality production design, it's easily the best of the three.More
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