Review: Solomon Kane

Solomon Kane starts out reasonably enough. Within the first ten minutes there’s a naval battle, haunted mirrors and James Purefoy, snarling like a lunatic. It’s daft and makes very little sense, but it’s also fun, that peaks just before the opening credits, with Purefoy’s Kane leaping through a window to escape being dragged to the depths of hell.

Unfortunately, post credits the film takes a severe downturn. To

avoid his infernal fate, Kane has renounced violence and found God. He’s also become one of the most tedious characters ever committed to celluloid.

For the next ninety minutes Kane mopes around a fictionalised England, where towns are adorned with hanged corpses, and witch-burnings are a fun spectator sport. This basic idea could actually have worked, even taking into account the fact that the baddies are essentially cast-offs from Lord of the Rings, but writer/director, Michael J Bassett,

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