Regie:
M.J. BassettScenario:
M.J. BassettCamera:
Dan LaustsenMuziek:
Klaus BadeltActeurs:
James Purefoy, Max von Sydow, Pete Postlethwaite, Rachel Hurd-Wood, Alice Krige, Mackenzie Crook, Philip Winchester, Marek Vašut, James Babson (meer)Samenvattingen(1)
Solomon Kane, een creatie van Conan bedenker Robert E. Howard, trekt in de duistere middeleeuwen een bloederig spoor over de wereld. Gewapend met zijn pistolen, jachtmes en langzwaard vecht de moordlustige kapitein oorlog na oorlog in naam van het Britse leger. Tot hij het in de havenvesting van een exotische stad moet opnemen tegen een gezant van de duivel. Solomon weet te ontkomen, maar is dan wel tot inkeer gekomen. Hij besluit tot een geweldloos bestaan. Maar tegen welke prijs? Na zijn laatste gevecht in een lange rij bloederige overwinningen keer Soloman Kane (James Purefoy) terug naar Engeland. Op zijn tocht door het land ontmoet hij een familie, die op de vlucht is voor kwaadaardige Raiders die Engeland in hun greep houden. Hij reist met ze mee, maar aarzelt te lang als hun dochter Meredith (Rachel Hurd-Wood) wordt ontvoerd door Raiders. Haar vader William (Pete Postlethwaite) kan haar niet redden en Solomon voelt zich geroepen zijn zwaard nog één keer op te pakken. (Entertainment One Benelux)
(meer)Video's (2)
Recensie (12)
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:
()
Klaus Badelt's soundtrack runs full throttle and Czech realities eagerly try to disguise themselves as a dark medieval period, but that's about all the praise this action-packed film will receive 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.
()
I’m like how badass and gritty this film is, but in terms of quality it’s average at best. Solomon Kane has pretty much all the clichés of the genre, which I don’t necessarily mind, but unlike other viewers, I don’t think it works well with them, which I do mind – it was very clear how many of the scenes would unfold, already when it shouldn’t have been so. To avoid spoilers, I will explain this with an example that has nothing to do with this film: a twist where the story is only a dream of the protagonist is a cliché. If it doesn’t occur to me that this will be the twist while watching the film, I won’t mind the cliché. But if it is clear after ten minutes, that’s bad. In Solomon Kane, unfortunately, almost everything is clear from the start. On top of that, it’s often too serious for me to take seriously. 5/10
()
Put together Van Helsing's grade-A movie budget with Solomon’s courage to cut little boys’ throats, and everyone is happy. Anyway, although this movie is amusing enough, it comes across as a farce with all its aspects borrowed from other movies. Purefoy’s performance is alright.
()
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%]
()
Reclame