Deathstalker

This movie is packed with everything you would expect in a sword and sorcery film(except explicit sex)!

There are twenty-five breast shots, twenty-seven butt shots, six sword fights, fifteen impalings, two amputations, one arrow in the neck, three beheadings, on horse dragging, one eye-candy, one finger food, one mud wrestle, one pig face, one magical trans sexual operation, two bitch slappings, one crotch stabbing, one head smashing, and one draw and quartering.

It doesn't get much better than this!

The makers of this movie gave absolutely ZERO F**ks, and i respect that. Kill the bad guys, Save the girls, pretty straightforward and fun. Good guy is a blank slate easy to identify with and the bad guy is a good and easy target to hate. lots of random careless nudity and plenty of 'classy' one liners. It's nothing to write home about certainly but those of you who like the 80's metal movies like Conan will love it. pretty basic as far as plot and story line but that's nothing you won't expect from the poster. I think it has great potential as a background movie for any good D&D campaign or reckless party. Epic Metal Movie, get drunk and enjoy

WOW ! If there ever was such a thing called a "guy movie" this is it. Deathstalker is one of few films that includes sword fighting, nudity, mud wrestling, full frontal nudity, and mid evil characters that talk like they're from New Jersey! You got to love it. Take my advice and rent this flick, buy a six pack and a pizza and lock the doors. This is one worth watching if you just broke up with your girl friend.

The man known as Deathstalker (Rick Hill) is asked by an old king to rescue his daughter from the evil wizard Munkar (Bernard Erhard). Deathstalker rejects this plea saying that the days of heroes are over. But when all sword-fighters of the land are called by Munkar to a tournament, he can't resist...

"Deathstalker" picks up all the clichés of fantasy movies, from wizards and princesses to mystical artifacts with great powers, and it adds a whole lot of sex and violence. Actually that happens to a degree that it gets hilariously funny. For example a giant kills a dwarf with several strokes of a heavy war hammer - and only a bit of blood red mud remains. Or the female warrior Kaira (Lana Clarkson) fights topless throughout the film. Go figure. "Deathstalker" goes w-a-y over the top, the ironical music indicates this was probably intended, and the action scenes are at least better directed than those of all the following flicks.

Lana Clarkson became the "Barbarian Queen". Screenplay writer Howard Cohen went on to script "Barbarian Queen" and "Deathstalker 3". Rick Hill returned for "Deathstalker 4". Executive producer Roger Corman spent another 75 bucks (roughly estimated) on the 3 Deathstalker sequels and "Wizards of the Lost Kingdom", to name but a few. And why not, if "Deathstalker" was a success.

A warrior named Deathstalker is sent on a quest by a witch to find a chalice, an amulet, and a sword. Soon, he's making new allies while battling warriors, creatures, and a wizard, in a story that's as thin as parchment but somehow still compelling in its brazen absurdity.

Hot off the back of Conan the Barbarian (1982), director James Sbardellati (credited as John Watson) delivers a film in the vein of The Sword and the Sorcerer (1982), though without the latter's sense of scope or panache. Howard R. Cohen's adult-oriented plot is paper-thin-more a skeleton for chaos than a story-but it suits the kind of low-budget, testosterone-fueled nonsense this era of sword-and-sorcery demanded.

Modeled on He-Man, Rick Hill (with a dash of Peter Weller and Dolph Lundgren) does a serviceable job as Deathstalker, bulking up the brawny charm while looking permanently winded from wearing so little. The late Lana Clarkson, however, steals every scene she touches, exuding both danger and allure with effortless presence. Richard Brooker as Oghris is a welcome oddity; one of those performances you remember for no good reason other than sheer theatricality.

Gratuitous nudity, a dash of unnecessary rape, and all the hallmarks of Roger Corman production shortcuts are on full display-cheap sets, choppy editing-but the high-concept lunacy carries it for the most part. Óscar Cardozo Ocampo's score deserves a nod: it lifts the proceedings, energises the fight scenes, and even when intrusive, it somehow feels part of the charm, like a synth-powered alarm announcing chaos.

The giant pig-man gladiator fight scene is a highlight, ridiculous and unwieldy, nothing like the promotional art but all the better for it. The showdown borrows from Superman II (1980) with Flash Gordon's Ming-like sorcerer Munkar, played by Bernard Erhard, getting his moment to shine-somehow lending gravitas to an otherwise gleeful trashfest.

Overall, it takes itself seriously, it's violent, and wall-to-wall scantily-clad leads and extras parade through every frame. Yet there's an undeniable appeal: low-budget 1980s sword-and-sorcery shenanigans, a dash of audacious nonsense, and just enough spectacle to make it one of the better Conan cash-ins. Poster art is still better than the film, but in that gleeful, slightly trashy way, Deathstalker has its own charm.