Deathstalker (2025)

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I was a child of the 1980s, but not of HBO or Showtime. That’s probly why I never saw DEATHSTALKER (1983) until last week. Still, I knew the idea of DEATHSTALKER enough to be excited when I read that it was getting a rebootmakemagining from writer/director Steven Kostanski, the Canadian goofball who gave us PSYCHO GOREMAN, FRANKIE FREAKO, the makeup effects for IN A VIOLENT NATURE, and more. My hopes got even higher when I learned that it would star Daniel Bernhardt, one of the great henchmen of the JOHN WICK era but not usually a leading man since his days headlining the BLOODSPORT sequels. He was fun in the ‘90s but now he’s more distinguished, he has a giant sword, and there’s goblins and magic and shit everywhere. Some things do get better.

Most people I talked to agree the remake is a significant improvement over the original. While I found the original somewhat enjoyable – it’s better than many other similar films and features Lana Clarkson before her role in Barbarian Queen – I’ve already mostly forgotten about it. Deathstalker II seems to have a fanbase, likely because it intentionally leans into being silly, though it feels a bit cheap. However, I think the new film by Kostanski is better than both of those. It strikes a good balance between humor and sincerity, genuinely aiming to be a fun, classic sword and sorcery adventure. It’s a real blast!

Kostanski told Bleeding Cool that he chose DEATHSTALKER off a list of Roger Corman properties available to reboot, and he confirms my suspicion that he wanted to use his creature effects skills to make the movie promised by the Boris Vallejo poster, which famously depicted a monster not in the movie. This really doesn’t follow the story or mythology of the original, it’s more like the DEATHSTALKER you imagined from seeing that video box or hearing about the movie from an older brother. Mix that with idealized memories of KRULL and THE SWORD AND THE SORCERER and hey, why not random bits of cool horror movies? I like that the 1983 movie has more random pigmen and things than many of the CONAN cash-ins, but it can’t compete with the amount of elbow grease these people put into their movies. If you get high on practical effects, this is a SCARFACE-sized pile of them.

At first I thought yeah, this is cheap but with some style, using this Pyunian yellow and orange tinting. Then it would go onto a set so elaborate that I questioned my initial assessment. There’s just such a reserve of elbow grease (and perhaps corpse dummy leftovers from previous FX work) that you never go very long without seeing something really cool. You know how in RETURN OF THE JEDI, when there’s an establishing shot of Jabba’s Palace they throw in a weird puppet frog creature to make it more interesting? And you know how most movies don’t do that kind of stuff because it’s too much work? DEATHSTALKER 2025 has a shot like that. It has stop motions shots. It has a reconstituting body like Freddy Krueger’s resurrection in A NIGHTMARE ON ELM STREET 4: THE DREAM MASTER, and little flying guys like the dream demons in FREDDY’S DEAD: THE FINAL NIGHTMARE.

The movie clearly draws a lot of inspiration from Army of Darkness, but the main character isn’t quite as silly as Ash. The director knows he’s leaning into those influences, and while it’s over-the-top, it’s not played for laughs. The film opens with a knight quickly overwhelmed by a horde of monstrous creatures resembling a mix of Psycho Goreman and Power Rangers villains. Just when it seems hopeless, a hero arrives in dramatic slow motion, his face mostly hidden. He expertly defeats the monsters, showing more skill than previous installments of the series (at least the first two – I haven’t seen parts 3 and 4 yet). But after the battle, he immediately starts looting the fallen knight, taking his rings and even an amulet hidden under his armor, ignoring the dying man’s protests.

This is just the beginning of his introduction. Next, he enters a tavern and stands with his back to the audience while a customer delivers a speech praising his incredible toughness, starting with the line, “There’s not a one among us who’s stared into Hell the way he has.” We first hear his name from a two-headed troll who bursts in searching for an amulet. As he turns to face the camera, electric guitars play and flames rise, leading into the logo reveal.


You know that phrase “dudes rock”? Movies also rock. This particular one ends with a new rock ’n roll theme song courtesy of Slash, who’s also an executive producer.

Deathstalker quickly learns the amulet he possesses is attracting constant danger, so he tries to get rid of it by throwing it in a river. However, it mysteriously reappears in his pocket – he can’t seem to shake it! He then seeks guidance from Toralva, a seer who wears a metal box over her head. She instructs him to find a wizard named DaedeWad, who can decipher the markings on the amulet. This wizard turns out to be a small goblin trapped inside a treasure chest in a cave. He introduces himself formally as Daedelad Parsaneon, son of Amax the Wise, but prefers to be called Doodad.

Laurie Field plays Doodad, but Patton Oswalt provides the voice. Doodad is a classic fantasy character – the small, helpful sidekick, similar to Hoggle from Labyrinth or Gwildor from Masters of the Universe. The combination of a well-known actor’s voice and practical makeup effects is reminiscent of Nick Nolte’s character in The Mandalorian and Peter Dinklage in The Toxic Avenger. However, because Patton Oswalt is doing the voice work, Ratatouille feels like the most direct comparison. If you enjoyed Ratatouille, you’ll likely enjoy Deathstalker.

I was aiming for a really over-the-top, intentionally silly vibe with MACHETE, but not a straight-up spoof. It’s not really a comedy, though I can see how some might think it is. There are moments that genuinely made me laugh, like when characters react to Deathstalker with a simple, believable “Oh, wow.” I also loved the bit with Deathstalker’s horse running off – his frustrated “Damn it!” and the fact that the horse is never mentioned again was a funny touch.

Like in movies such as THE EMPIRE STRIKES BACK or PREDATOR: BADLANDS, the hero is tasked with carrying a small companion. The story centers on deciphering an amulet and preventing the villain, Nekromemnon (played by Nicholas Rice, known from LUCKY NUMBER SLEVIN), and his followers, the Dreadites, from destroying the world. Along the way, they encounter Brisbayne (Christina Orjalo, who appeared in “Little Girl on the Bus” and 16 BLOCKS), a thief initially hidden amongst corpses – though she was previously seen at a tavern, mysteriously cloaked, reminiscent of characters in LORD OF THE RINGS. Despite initial reluctance, they begin to cooperate and build trust, though Brisbayne is secretly affiliated with a shady guild run by Grendul (played by Nina Bergman, recently starring in the critically acclaimed HELL HATH NO FURY).

I’ve always thought the truly great fantasy films need a solid story to back up the visuals, and this one definitely has that – it’s not just style over substance. What really stays with me, though, are the bizarre and unforgettable moments. Like this one scene with this creepy guy named Scarabus – the actor, Troy James, was amazing! He wielded a spinning blade on a chain and had this crystal embedded in his face that gave him Predator-like vision. Then there was the moment when Deathstalker casually greets a woman’s face emerging from the ground, only for it to split open and a snake lunges at him – his reaction of “Oh shit!” was perfect! And don’t even get me started on the pigman who squeals when his jaw gets ripped open! There’s this incredible scene with giants battling in the background, a guy with a brain exposed behind a metal grill, and this stone warrior who constantly shifts faces – it reminded me of Man-E-Faces from Masters of the Universe. Honestly, the movie is just packed with these wild, memorable details.

Honestly, I get a kick out of watching Doodad summon that wraith – it’s this floating, screaming torso, pretty creepy! But I totally side with Deathstalker when he yells, “Seriously, how is this supposed to help us?” It’s cool magic, but what’s the point?!


The most emblematic scene has got to be the one in the swamp. It’s great monster work, a really funny joke, but also am I crazy to think it’s pretty sincere? They get captured and marched through a swamp, where Doodad warns of “vengeful spirits that have forgotten the joys of music or the warmth of a brotherly hug.” Of course when the spirits show up (they are cool Swamp Things) he stops them by playing a flute and telling Deathstalker to hug them. The monsters enjoy the hug and wave goodbye. A big laugh that also establishes a relationship that will be crucial later on. In a way, Deathstalker is also a Friendstalker.


Since I gave a pretty positive review to RED SONJA last week I need to say that this is about ten times better than that one. I wouldn’t be surprised if it was a lower budget, but that’s never a problem here because all the handmade detail gives it so much more production value than a semi-adequate-ish CG shot. I’m not an anti-CG guy, but any one of the rubber dudes in this adds more value than the digital minotaur in that one.

I also think it’s fair to say Bernhardt runs circles around the previous actors in the role, not just because he can do the action so much better – he also gives a far more compelling performance. He’s in great shape, but being older is much more interesting than just being beefcake, plus he’s gotten really good at the deadpan comedy, and has a good big brother or cool uncle chemistry with the very likable Orjalo.

I was really interested to learn from the Kostanski interview that he considered an older version of Deathstalker, especially since he’d just watched Bloodsport 4: The Dark Kumite around the same time.

In the end, somehow, I cared about Deathstalker learning to work with others. But even if you hate emotions and bonding and what not you will enjoy seeing heads get chopped, sawed and smooshed. We all like that kind of stuff, right? Actually my friend Matt Lynch found this movie annoying and turned it off about two scenes in, and I guess I can understand that. But I think some of you will be on its wavelength, and I know for sure that all true fantasy fans will never again worry about George Ramrod Martin finishing Game of Thrones, and won’t even bother to hold on to their dumb old Tolkein books, because how do you keep ‘em in the Shire once they’ve journeyed to the Kingdom of Abraxeon? There’s a new Lord in town and he has a sword that’s way bigger than the one from THE SWORD AND THE SORCERER and has one extra blade.

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2025-11-27 03:10