Han Kwang-Il knows what fans want. Audiences watch “The Witcher” because we want to see our hero go on a colorful quest, perhaps while fighting monsters, not for the dreary goings-ons of medieval life. Yet, the 2019 series “The Witcher” was heavy on the goings-ons, with only one bright spot in the entire show: Henry Cavill’s blonde wig. Kwang knows where that show went wrong, and offers a spectacle drenched in action, adventure, apologue and atmosphere. You might even find yourself having…fun.
When we last ventured through the Continent, the empire was so desaturated you could be color blind and not miss a thing. Which is why some fans took issue with Lauren Schmidt‘s show. The novels were full of life and verve, elves, witches, and witch hunters, so one has to wonder why “The Witcher” drowned out that color with lifeless hues, trading lively characters for sad, groaning men. These witch hunters didn’t need a mission. They needed a vacation.
The screenplay by Beau DeMayo, who also worked on the show, follows the basic outline of the monster-of-the-week structure employed by “The Witcher,” just with a whole lot more vibrancy packed into it. Vesemir, a witcher (i.e. a witch hunter for hire), is tasked with tracking down a creature in the woods bordering the Continent somewhere on the outskirts of Kaedwen. In the process, he comes across a “leshen,” a shape-shifting witch that dices up townspeople like carrots and gobbles up their remains like a lion after a week of fasting. Vesemir brings a sense of humor to their battle, throwing shade at the monster as he jumps from tree to tree in order to catch the beast off-guard. He cuts off the leshen’s arms, but it still manages to slip away.
Meanwhile, a handful of characters wander the Continent. Tetra (Lara Pulver) tries to convince the court that witchers are dangerous and should be exiled, while an old friend of Vesemir’s, Lady Zerbst (Mary McDonnell), argues in his favor. Accompanying her is Deglan (Graham McTavish), who recruits witchers to protect the land from outside forces. Also along for the ride are a couple of trainees, including Geralt, the main-character in “The Witcher,” and Luka (Matt Yang King), Vesemir’s best friend/drinking buddy. Vesemir’s mission brings all these individuals together, in a “Game of Thrones”-style climax that trades dragons for witches.
This new “Witcher” is obviously a step up from the show in terms of visuals and atmosphere, but it also feels like a bigger film in character, and, indeed, characters. Kwang, who made his reputation with Adult Swim’s “The Boondocks,” three episodes of which he directed, can certainly flesh out his characters in more ways than one. While there’s no shortage of throat-slashing, there’s also a good 30 minutes devoted to backstory, developing the players in such a way that, by the time “Nightmare of the Wolf” reaches its operatic conclusion, the emotional payoffs feel earned and honest.
Some of the drama is a bit wooden, but it’s an animated movie that brings real issues into a surreal world. Plus, it’s mainly an adventure. As the witchers set out on their quest, the only thing that matters is the texture of the landscape, the excitement of the effects, and the coolness of the action sequences, which are as eye-popping as they are eye-gouging. It’s impossible to take your eyes off the screen as Vesemir rips into a horde of red-eyed ghouls, or close your jaw as a coven of witches soar over a haunted, frightened sky. If you can stomach all the blood and guts, you might even find yourself having a good time. [B-]