A plush private wine bar run by young witch Chloe ( Game Of Thrones’ Rose Leslie) lets its customers get high on phantasmagorical cocktails. A cake store is a front for some kind of inexplicable magic circle involving maggots and butterflies. Kaulder keeps an ancient runes in one pocket and a smartphone in the other he’s as likely to tote a shotgun in the screaming face of evil as brandish a sword.Įisner (and credited screenwriters Cory Goodman, Matt Sazama and Burk Sharpless) imagine New York as a magical-realist labyrinth where white and black magic are still practiced behind the slick facade of corporate buildings and coffee chains. His expensive flat overlooking Central Park is full of priceless objects he’s collected on his witch hunting exploits down the ages, all arranged tastefully around a sleekly-designed pool table. Kaulder’s an old soul who’s embraced modernity. As in Highlander, Kaulder’s immortality is as much a curse as a gift adrift in time, he has no close friends other than Father Dolan (Michael Caine), the latest in a procession of holy men whose job is to serve as an Alfred Pennyworth to Kaulder’s Bruce Wayne. Vin Diesel plays Kaulder, an immortal witch hunter from ancient times (the last of the witch hunters, funnily enough) who’s still battling evil in present-day New York. The Last Witch Hunter largely succeeds because it’s aware of its remit as a big daft multiplex filler, its performances are sparky and fun, and also because its engaging production design provides plenty of baroque visuals to keep things interesting.
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