The casting of the monotone and muscle-toned Vin Diesel seems inspired and logical for something as clumsily radical as The Last Witch Hunter.

Instead, Hunter is incoherent and erratically ridiculous as it shamefully incorporates bits and pieces from other better-made schlocky showcases. There is nothing inherently wrong with upping the ante in boisterous bounciness but Hunter is unfocused and all over the map while never committing fully to being a distinctive, impish-minded vehicle. The Last Witch Hunter is about larger-than-life throwaway silly thrills and cherishes its berserk-style entertainment with unapologetic relish. Still, this mythical monstrosity feels annoyingly strained and tries too hard to sell its outrageous, synthetic spryness. Well, The Last Witch Hunter certainly will attract its share of followers as a gaudy and grainy fantasy adventure both big in scope and surreal absurdity. Nevertheless, the consensus is that sometimes high-tech jumbled junk is one enthusiast’s treasured and enjoyable guilty pleasure worth its mindlessness in gold. So there are a number of reasons why the whimsical wasteland The Last Witch Hunter might be considered high-tech jumbled junk.

Unfortunately, the “twitch of the witch” is explored in an over-the-top, messy and misplaced CGI-coated production of the outlandish The Last Witch Hunter. However, another iconic horror-induced symbol–the witch–is making its way back into prominence in the cinema circles. Sure, zombies are still the norm in pop cultural media on both the big and small screen (anybody not heard of “The Walking Dead”?). It was all the rage at the box office that was experiencing a certain celluloid renaissance with overloading narratives within the “zombie zone”. One could not swing a dead cat without running into zombie-related cinema. There was a time when the movie gods were treating audiences to the omnipresence of zombies.

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