After the brief medieval prologue we’re introduced to a modern day New York that is teeming with witches, magic and spell books, but offered very little connective tissue that informs us of the wider world. However, unlike these mildly enjoyable counterparts, The Last Witch Hunter treats its own world-building with about as much care as a hyperactive 5-year-old with an excess of Lego. The hammy dialogue and contrived plot about an ancient Witch Queen ( Julie Engelbrecht) returning from the dead compounds the problem, whilst a final scene that hints at further adventures to come will stifle any residual interest the audience have clung onto.ĭespite not being based on existing material, originality isn’t something that screenwriters Cory Goodman, Matt Sazama and Burk Sharpless are overly familiar with together with Eisner, they’ve successfully cooked up a film that sponges from other, more compelling work to create a wonky patchwork quilt of borrowed motifs and tropes the snowy opening evokes Game of Thrones, the lone monster hunter idea is torn from Van Helsing or Underworld and the hokey “mythical beings inhabiting our world” narrative recalls films like Men in Black or Blade. The fatal flaw here is that Diesel brings less charisma to the role than a baked potato, and his mumbled performance is accompanied by some misplaced belief in franchise potential that borders on delusion.

The film borrows a lot of elements from other series’ in an attempt to feel instantly familiar Kaulder is given this James Bond-like persona as he races around the globe, beds air hostesses, wields an array of gadgets and even drives a slick Aston Martin. Diesel plays Kaulder, an immortal warrior who has spent the last 800 years travelling the globe, and bringing nasty witches to justice aided by two priests ( Michael Caine and Elijah Wood) who’re part of a secret order, Kaulder must now join forces with a witch called Chloe (played by Game of Thronesalumni Rose Leslie) if he is to find solace, and prevent an ancient foe from returning to power.

Vin Diesel and director Breck Eisner’s hopes of melding myth with modernity to make something magical are woefully misplaced with this movie The Last Witch Hunter toys with one or two engaging hooks, but the execution is subpar and undercuts any attempt at crafting an appealing fantasy realm. Double, double toil and trouble Breck Eisner’s The Last Witch Hunter takes a mildly interesting premise and twists it into one of the year’s worst films.

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