OUR MOVIE REVIEW:

Since Peter Jackson’s Lord of the Rings films, the sword and sorcery genre has slowly withered away. That’s not to say there haven’t been any genuine (or even good) attempts at trying to revive it. 2023’s Dungeons & Dragons: Honor Among Thieves made a noble attempt but ultimately failed to leave a major impression despite being backed by a strong fandom, talent and money. An outsider might say seeing what sticks is like pulling a sword from a stone. However, true fans of the genre know it boils down to movie magic. The kind that exudes from Steven Kostanski’s new film, Deathstalker. 

The film is a remake of the 1983 Roger Corman classic of the same name, though it changes up the story considerably. In the original, our titular mysterious hero journeys to rescue a princess and retrieve a mystic amulet. In this update, however, there is no princess and he seems to be cursed by a mystic amulet. In fact, the story begins right as he steals it off a dying knight. Believing it to be a valuable treasure, he refuses to let it go. But when he becomes targeted by ogres, demons and other strange creatures who want it, he decides to destroy it. There’s only one problem: it can’t be destroyed. And every time he tries, it magically reappears in his possession. To rid himself of its trouble once and for all, he embarks on an unbelievably strange quest with the help of a struggling wizard and a shady thief. 

Under any other director, this film might have been another forgettable, by-the-numbers fantasy. But under Steven Kostanski, it’s a wicked throwback to the forgotten and puzzlingly bad films of the 1980s. Make no mistake. The film is not bad. But it’s extremely conscious of how its low-budget sets, costumes and over-the-top practical effects look. For example, the wizard that accompanies Deathstalker, named Doodat, is clearly just a dwarf wearing a cheap mask whose lines are dubbed (by Patton Oswalt, at that). Hilariously, none of his words ever align with his lips when they move. Although this could have easily been fixed in post-production, Kostanski’s decision to leave it as is remains a stark reminder that Hollywood doesn’t make films like this anymore. While most may think that’s a good thing, the fact that the entire film still succeeds at being entertaining proves that a good story can always trump technology and what’s trendy.

Kostanski’s most admirable decision is his choice to have Daniel Bernhardt play the titular warrior. Having previously starred in campy genre films such as Bloodsport II and Mortal Kombat: Conquest, he understands that deadpan seriousness the character demands in the face of absolute absurdity. With years of Hollywood stunt work also under his belt, he’s able to balance the action effortlessly too. There isn’t a better demonstration of how well Bernhardt nails the role than when his character first meets Doodat. The scenario set up to have their fates cross is so cartoonish, yet Bernhardt maintains his bravado. The banter between the two is also quite enjoyable as you can feel Doodat slowly chipping away at Deathstalker’s slow exterior.

As fun as it is, the film does suffer from some pacing issues. It’s not slow, but it’s certainly predictable. Every encounter with the next antagonist in search of the amulet follows a pattern. The characters fight, then travel a bit, reveal some exposition until the next fight breaks out - all like a cheesy Mighty Morphin Power Rangers episode. Regardless of how repetitive it gets though, each fight still ups the ante for our trio in some way and keeps the film entertaining. 

At its core, Deathstalker is the ultimate love letter to old  B-movies. While it may not be the best film ever made - or even Kostanski’s best (Psycho Goreman is golden), it’s certainly the most magical. Not just because Patton Oswalt playing a sorcerer is quite the sight to behold. It’s living proof that simplicity reigns supreme. It’s proof that the hero's journey doesn’t have to be drenched in CGI to take the audience on an adventure. It’s proof that, even in a film about a man with “death” in his name, this kind of nonsensical cinema still has a pulse.