With Sean “Y’bloody bastards’ Bean in full knight’s regalia and ‘Severance’ man Christopher Smith in the directors chair, you’d be forgiven for expecting a ridiculously gory horror that doesn’t take it’s historical trappings too seriously. Rather than following in the thoroughly ridiculous footsteps of ‘Soloman Kane’ however, Smith seems to have taken a conscious decision to continue the expressive expansion he began in Triangle, resulting in a film that isn’t afraid to play the stupid seriously, and it’s all the better for it.
