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The initial segments feature early nineteenth-century Indiana. This gives context into how young Abe (Lux Haney-Jardine) came to hate vampires with all his heart. Understandably so, as he grew to hate them for slaughtering his mother and treating the Southern Slave Trade as a food distribution center. As a tall young man (Benjamin Walker) hellbent on killing his mother’s demonic assassin (Marton Csokas), Abe is approached by the enigmatic Henry Sturges (Dominic Cooper). Apart from supervising Abe1s law studies, he places him through strenuous exercise and teaches him how to defeat these monsters. The only downside is that they can turn invisible and move faster than William Howard Taft at a buffet.
Henry recommends silver as his weapon of choice, which is a key twist appropriated from werewolf mythology. Hence, with the assistance of a silver-bladed axe, a gun containing silver bullets, and some moves that seem like they were borrowed from the matrix, Abe now finds himself with the ability to destroy bloodsuckers. He also gets the attention of the attractive Mary Todd (Mary Elizabeth Winstead) but chooses to ignore her. After all, the lowly vampire hunter, much like Spider-Man or James Buchanan, is left to drown in a life of self-imposed bachelorhood.
Lincoln’s lawyer is promptly married with a child, which moves him into the white house. He is then caught up in a civil war that is extremely bloody. The script pivots on the metaphorical linking between slavery and vampirism, which brings extraordinary and historical elements together. Incredibly thin, but effective imagery surrounding President Jefferson Davis, a well-known Confederate leader, negotiating with vampire Adam set in New Orleans pulls this idea together. This is the argument’s essence. A masterpiece suffers from not having enough of character assassinating dark humor. The phrase shocking is a double-edged sword as this is the weapon of Abraham Lincoln vampire hunter. The movie plays as a straight drama, even if at first appearance that seems bizarre. The picture gets the final touch through his portrayal as a superhuman figure who gets to mutilate bankable movie monsters of this era, which stands as an international marvel.
Ignoring the obvious mask, pipes, and layers of makeup, Lincoln’s stoic expression and the jaw he possessed shone through. Walker’s performance was on point. Combining that with Winstead’s the result is magnificent. It is aimed at a film that shockingly has its most remembered action scene in the form of a china-mendelian slam dance combined with a horse stampede.
In an age where violence sells, showing it impudently does wonders for business. Of course, it doesn’t matter if it is exhibited in a flashy or boring style. Violence can be trivialized to the extreme. In his earlier films, he bewildered the audience with the two ‘night’ films. After that, he made an equally perplexing graphic novel into a motion picture. ‘Wanted’ was a 2008 blockbuster. Not only was the film booming, but the fight sequences in the film were equally gripping. Everything from the tension to the choreography was just stunning.
Never stable, rarely with an intent to linger and everything seems fleeting in “Abraham Lincoln Vampire Hunter” There is an unsatisfactory balance, especially with the cinematography and audio. Deschanel’s sepia-suffused sepia widescreen shots are clumsy classy images that lack value and the dim lighting didn’t help. The 3D conversion also does not appear to add anything new, or anything good for that matter. Austin Power’s style cutting to the next scene is enjoyable because of the dramatic sound effects, but come on another Linkin Park song?
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