Swords and sandal style fantasy epic features are not my bag. Asides from the childhood nostalgia of catching re-runs of Desmond Davis’ 1981 classic Clash of the Titans, and the horror-tinged madness that was Sam Raimi’s Army of Darkness (1992), there really aren’t any titles that stick in my mind as being enjoyable. So, when I saw the poster for Deathstalker advertised as screening at Black Sunday Film Festival, my instinct told me this was not going to be fun. But oh momma was I wrong!
Writer/director Steven Kostanski has created a film for the ages with this reimagining of the 1983 original. Where James Sbardellati opted for a more sleaze ridden affair, targeting an alpha male audience with scantily clad females, gratuitous sex scenes and over the top violence, this latest version embraces the joy held in fantasy filmmaking whilst giving its audience a knowing wink.
We follow a powerful swordsman known only as Deathstalker (Daniel Bernhardt), as he recovers a cursed amulet from a corpse strewn battlefield. Unbeknownst to him, the amulet is marked by dark magic, and he’s instantly hunted by various monstrous assassins, intent on reclaiming the power for themselves. Along his journey, Deathstalker unwillingly attracts misfit allies who bring equal parts assistance and roadblocks to his new quest.
From the opening scene we’re embraced into this camp and dramatic world as we find our hero mid-battle against various creatures. There’s intense fight choreography, incredible costume design and the gore is just magnificent.
Many independent films in the horror genre live and die by the standard of their practical effects. Deathstalker was in the incredibly safe hands of Kostanski, who has an affinity for working alongside the absolute best available to create awe inspiring creature design, impactful bloody scenes and kills that films with larger budgets and major studio backing could only dream of. Add to this some wonderful stop motion animation and puppeteering and you’re off to the races!
The tone of Deathstalker is spot on. It embraces fans of fantasy epics past giving them a comforting hug in the form of familiar character arcs, adorable sidekick creatures and adventurous quests. For those who prefer films a little darker, there’s buckets of blood and some notably sinister moments. Then we have the middle ground, where the two sides come together in endless well-written and perfectly timed humorous quips that provide levity and bring us back into the fold. This shouldn’t be surprising as anyone familiar with Kostanski’s previous outing, PG: Psycho Goreman (2020), will know he can write a script that delivers on every level!
I’d be remiss not to mention the character names – some of these received audible appreciation and chuckles in the screening at the mere mention. We have Doodad, a goblinesque wizard portrayed by Laurie Field and voiced by Patton Oswalt. There’s Brisbayne (Christina Orjalo), a young and experienced thief who joins their quest. We have the aptly named Nekomemnon (Nicholas Rice), a necromancer and ultimate bag egg. And then my personal favourite Pig-Face (Jon Ambrose).
Not content with delivering possibly the best horror/fantasy film to exist in the last 20 years, Kostanski seals the deal with various nods to fan favourites from each genre. We have evil undead creatures known as ‘Dreadites’, and two references to The Neverending Story – a wonderful background moment of two oversized rock creatures fighting, and a hilarious scene where Deathstalker’s white horse refuses to walk through a boggy marshland (emotional trauma anyone?)
Of course, no film of this epic scale would be complete without a badass score and this fell to the hands of Canadian composers Blitz//Berlin, whose previous work can be found in Blade Runner 2036: Nexus Dawn, and Jordan Peele’s Scare Tactics. Deathstalker also comes lovingly wrapped in the 80’s metal glory of none other than famed Guns N’ Roses guitarist Slash, who co-wrote the main theme with Bear McCreary and Chuck Cirino.
It’s safe to say Deathstalker is absolutely a film not to be missed. There was not one person who walked away from our screening unsatisfied by the ultimate behemoth of modern independent filmmaking they had just witnessed. I for one am counting the minutes until this is picked up for distribution as will be adding it to my collection faster than you can say roll for initiative!
