I don’t know if I’m doing Solomon Kane any favors by discussing its common ancestry; connecting the film to a gene pool that contains Van Helsing and Season of the Witch brands it with a very specific set of very low expectations. In fact, I may be damning Solomon Kane with faint praise when I say that it happens to be several cuts above both of those disasters. Thus, I have to rely on my readers’ trust in me as a critic when I say that Michael J. Bassett’s cinematic rendition of Robert E. Howard’s Puritanical anti-hero really is an earnest and pretty damn entertaining vision of Gothic pulp heroics. It…