DEATHSTALKER Review: Put This Candy In Your Bag
Deathstalker will not surprise you if you’re familiar with two things: writer/director Steven Kostanski’s brand of cartoon irreverence and the goofy pulp fantasy flicks of the 1980s. Though this is a new riff on the Deathstalker films from the House of Roger Corman, Kostanski is here to embrace all of the era’s sword-and-sorcery offerings with the biggest bear hug you can imagine. Probably the most prominent is The Sword and the Sorcerer, which we’ve covered on the GenreVision movie club. The usage of a multi-bladed super-sword and the name Talon should clue in diehards to what this movie is all about.
But, if you haven’t spent your days among The Beastmasters of this world, you’re still going to get a massive kick out of Deathstalker. Kostanski has made a dependable name for himself in the world of genre goofiness, directing the refreshing Leprechaun Returns, the tokusatsu-tinged classic Psycho Goreman, the recent puppet-forward comedy Frankie Freako, and one of my favorite short films of all time, Bio-Cop. Needless to say, he’s pretty much a perfect fit for a tongue-in-cheek take on cheeseball fantasy. Deathstalker is rarely ever taking itself 100% serious and makes sure you know it. Some might find that a little empty by the movie’s end, but I was on board with the cotton candy tone thanks to the copious amounts of goodies slathered on top.
Kostanski is also a special effects artist and he puts that mindset to proper use in Deathstalker. Oh, how I cavorted about in joyous adoration at the rubbery monsters and syrupy fake blood that litter the film. Those who can’t enjoy the tactile fakery on display here are hanging out at the wrong website. Deathstalker is proud of its artificial nature and takes advantage of it to craft the kind of hands-on, childlike glee that Kostanski excels at. The theater of it all is played up to 11 and all the better for it, giving Deathstalker the “putting on a show” heart that often feels lost in so many modern effects films.
Another treat in Deathstalker’s bag of goodies is the cast. Daniel Bernhardt slips right into the smarmy skin of the titular character, embodying the rugged, heroic aura of previous Deathstalkers as well as every other roguish fantasy hero of an era long gone. Bernhardt has charm and charisma to spare and keeps the movie’s tone anchored at all times. Patton Oswalt voices the magical sidekick, Doodad (if that doesn’t tell you what we’re going for here), and does well with assisting on-screen actor Laurie Field whose performance is unfortunately constricted by their makeup. Appropriately, our two villainous characters, Jotak (Paul Lazenby) and Nekromemnon (Nicholas Rice), give the most over-the-top deliveries for their characters. It’s always a delight when they are getting to be throwback Bad Guys. Christina Orjalo is probably the least memorable of the ensemble as Brisbayne, but she’s by no means bad or a drag on the movie. She does her job admirably but never quite rises to the film’s gonzo level.
There are other delights in Deathstalker — simply hearing the Chuck Cirino theme from Deathstalker II revived and reorchestrated is one of my favorite movie things this year — and there isn’t much in Deathstalker that isn’t delightful. This is the movie equivalent of, “They brought back that candy you liked from your childhood!” Yeah, they did! This is a yummy treat that’s unquestionably unhealthy for you and that’s part of why it tastes so good. In a weird way, that makes Deathstalker a scrumptious fit for the month of October. It’s got all the sugar highs and vivid color dyes of Halloween morsels but injected with an endearing flavor that’s all its own. Make sure to stuff it into your sack this season.
