Solomon Kane

B-movie ambitions are in place. Solomon Kane is not bad, you can see it has a different approach. It doesn’t try to be monumental and over-the-top like Van Helsing, and it is visually attractive and relatively well put together; it even has an interesting plot in the first half. Although the basic storyline is banal, Purefoy and the straightforwardness of the plot make it work. Unfortunately, the film reaches its peak around the halfway mark, with a thrilling and fantastically shot battle scene in a forest. Things go downhill from there with excessive “fantasy elements” that degrade it. The ending, although restrained, is still uninteresting considering the gloomy aesthetic of the film. Overall, it is solid but uneven in the details. (14/11/2010)

An honest medieval bloodbath without any unnecessary special effects (except for the impressive ending), which relies on rain, mud, and blood, and the result is an uncompromising impact, perhaps marred by the slightly predictable plot. However, this time it doesn't matter so much because the main trump card of Bassett's film is James Purefoy. Anyone who has ever watched Rome knows that he is a charismatic bastard, and even here he lives up to his reputation. It is a pleasure to watch a protagonist who, even when uttering pathetic phrases, does not look ridiculous but instead makes the viewer's signal system shiver with a pleasant chill. Not to mention the moments when he picks up a sword (or better yet, two). Thumbs up. PS: (24/05/2010)

Klaus Badelt's soundtrack is running full throttle and the Czech realities are eagerly trying to disguise themselves as a dark medieval period, but this action-packed film won't receive any more praise from me. Solomon Kane tells a cheap fairytale instead of an ambitious fantasy. It could have worked in book form, but the film is surprisingly annoyingly transparent in its execution. (07/01/2011)

A very sympathetic "dirty fantasy", which falters due to the lousy choreography of the fights (they are disgustingly clumsy and mechanical) and especially to the lack of exaggeration, which was included in Conan the Barbarian, a film similar to Solomon Kane. Solomon Kane is essentially a variation of the tale of the tamed savage, despite the fact that instead of an erotic sparkle the film bears the white sheet of Catholic chastity and somewhat unappealing evocations of God's justice. Fortunately, Purefoy clearly enjoys the depravity, and Max von Sydow's face amounts to an experience in and of itself. By including a quality expedition to Czech meadows and groves, solid music and aspiring effects, Solomon Kane is a welcome alternative to raging fantasy dementia for immature children. Instead of hairy creatures, there is a rotting stench permeating the film, and here and there a head rolls down the stairs. Meat, blood and "proud toughness" are missing from modern fantasy films. However, Solomon Kane could and should have been a bit more agile. [65%] (17/06/2010)

If it weren't for the fact that the (very good) Klaus Badelt is unfortunately not the legendary Basil Poledouris, Solomon Kane would be comparable in all respects to Conan the Barbarian. I don't know about anyone else, but I just saw a stunningly honest classic fantasy that had an incredibly impressive, dirty medieval atmosphere (skillful direction, beautiful and terrifying cinematography, the aforementioned music), a main Hero with a capital H, and quite a gritty and good (and an almost fairy tale) story of repentance. I had a very good time and I dare say I will never forget many of the scenes (the opening, the church, the crucifixion, etc.). So I give it a strong four stars (which under normal circumstances - i.e., without Poledouris - Conan would probably get) and I'm happy as hell to round it up.__P.S. Only the final digital crap could have been a little less reminiscent of the Balrog. (03/04/2011)