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Yes, the plot is silly, yes the dialogue is cheesy and yes, some of the special effects are badly done, but nonetheless it is great fun. Like Rocky Horror Picture Show, Congo and Jingle All the Way, Flash Gordon is a sort of guilty pleasure of mine. The costumes are quite extravagant and the sets are exotic. Then you have an irresistibly killer soundtrack from Queen, who also brought us the classics We Will Rock You and Bohemian Rhapsody. The direction is pretty good and the acting is surprisingly great. Sam J Jones is bad with his cheesiness but he was fun besides, thank goodness he wasn't bland like Justin Whalin from Dungeons and Dungeons, and Melody Anderson is charming and alluring as Dale. Brian Blessed is very hammy as Vultran but he is great fun regardless and Topol, who was so superb in Fiddler on the Roof, is memorable as Dr Hans Zarkov. And while Ornella Muti is a wonderfully witty and sexy Princess Aura, it is Max Von Sydow who walks away with the picture, pantomime of course but sinister as well and I appreciated that. Overall, not perfect and camp personified, but very enjoyable. 7/10 Bethany Cox

Colorful, silly fun, at times campy, Mike Hodges's 1980 "Flash Gordon" is among those movies that are less than the sum of their parts. Made on shoe-string budgets with C-picture performers and crew for young undemanding viewers, the original 1930's Flash Gordon serials are unintentionally funny to adults today. To recapture the innocence and naivete of those movies with a big budget and trained actors is a difficult task, although Hodges's "Flash Gordon" makes a decent attempt. Lorenzo Semple's screenplay tracks the original serials fairly well; Flash and Dale Arden are taken aboard Doctor Hans Zarkov's spacecraft and flown to the planet Mongo, where they battle Emperor Ming the Merciless to save the Earth. Semple's script has enough classic bad dialog to satisfy seekers of camp; "I love you Flash, but we only have 14 hours to save the Earth." However, the difference between Semple's script and the original series is that Semple knew he was writing bad dialog, while the writers of the serial were unintentionally hilarious.

That difference in intention also applies to the actors; Buster Crabbe and company played the serials dead-pan straight, and those in the remake who play their parts equally straight come off best. The under-demanding role of Flash requires the skills of a Razzie Award Winning thespian, and, Sam J. Jones won a Razzie nomination for his work herein. Although not a super hero in the modern sense, the blonde hunk, who sports nothing but leather trunks in one scene, physically fills the role, and Jones manages to deliver his lines with a convincing lack of conviction as the dim, but well meaning Flash. However, the movie's scene-stealer is Max Von Sydow as Ming the Merciless; appropriately garbed and made-up as the evil emperor, Von Sydow plays the role with majesty and menace, which is all the more fun. Unfortunately, Topol as Doctor Zarkov, does not follow Von Sydow's example and winks and smiles as the mad scientist, telegraphing to viewers that he is in on the joke. But Brian Blessed as the winged Prince Vultan, Timothy Dalton as Prince Barin, and, especially, the delicious Peter Wyngarde as Klytus deliver their lines as though penned by the Bard himself. Although Mariangela Melato is a memorable Kala, Melody Anderson as Dale Arden should have been in the running for a Razzie alongside Jones, which is intended as a compliment.

Besides Von Sydow, the film's other scene-stealer is designer Danilo Donati, who provided the lavish Fellini-esque costumes and sets. While Donati's work tends to emphasize red and gold, which may not be to everyone's taste, his outlandish designs are as entertaining as anything on display and certainly light years beyond those of the 1930's serials. If Donati or another anonymous designer created the Art-Deco spaceships, he or she too deserves kudos as do the creators of the appropriately tacky and obvious special effects, which beautifully evoke the primitive work of the 1930's serials. As contemporary and important as the art direction is the pulsating score by Queen that punctuates the action and enhances the excitement. While "Flash Gordon" is not the high camp perhaps intended, the film has a cult following and enough outstanding attributes to satisfy main-stream audiences. Led by Max Von Sydow's iconic Ming the Merciless, Queen's pounding music, and Danilo Donati's dazzling designs, "Flash Gordon" may not be to everybody's taste, but should be savored by all at least once, just for the sheer fun of it all.

The Emperor Ming (Max von Sydow) is attacking the Earth. Only former NASA scientist Dr. Hans Zarkov (Topol) seems to have foreseen it. He intends to launch himself in his rocket as a 'counter-attack'. NY Jets star quarterback Flash Gordon (Sam J. Jones) is taking a commuter flight. He survives the plane crash along with fellow passenger Dale Arden (Melody Anderson). Zarkov tricks the duo into his rocket and launches them into space. They are taken prisoner to find Ming's tyrannical rule over the various kingdoms. Prince Barin (Timothy Dalton) leads the kingdom of Arboria. Hawkman Prince Vultan (Brian Blessed) runs Sky City. Ming's daughter Princess Aura (Ornella Muti) is fascinated with Flash. Ming takes Dale as his concubine.

This is brilliantly colorful and deliciously campy. The Queen soundtrack is second to none. The acting is big but it fits the style. Parts of it goes a bit too slowly. Some scenes are very static. Even the actors move slowly as an old-fashion way to denote drama. Sometimes it needs more energy to maintain the tension. This is an unique vision and a fun watch if you don't take it seriously.

During the middle section of this movie, our hero 'Flash' Gordon, accompanied by Ornella "Most beautiful woman in the world" Muti, witnesses ex Bond Timothy Dalton giving ex Blue Peter presenter Peter Duncan the sweet merciful release of death by putting him to the(cardboard) sword (offscreen). "Its an initiation" purrs the shapely Muti, "I just love initiations".

This 1980 version of the perennial Saturday morning sci-fi cliffhanger is a feast for the senses. That is, if your senses crave lashings of junkfood. With an eye meltingly lurid palette of colours and rocktastic Queen soundtrack Flash Gordon was the perfectly overblown movie for the start of an overblown decade. The costumes are extravagantly cheesy, the effects farcical, the acting hilarious.

Almost every minor character was hammed up to perfection by the cream (or perhaps custard) of character actors of the time including such luminaries as Rocky Horrors Richard O Brien, Phillip "I corrected them" Stone from the Shining and the half-man, half-beast that is Brian Blessed.

The only minor flaw in this popcorn delight is the fact that it is, in almost every way - a terrible, awful movie - I HIGHLY recommend it.

In 1980, science fiction was undergoing a revival of sorts. Some would argue that it is unfortunate that the science fiction appearing on the big screens of the time were more action-oriented than dramatic in nature. Flash Gordon came at a time when audiences were being trained to expect more and more from their films, with budgets skyrocketing and effects becoming progressively more important than the story. It is therefore somewhat disheartening to see reviewers focusing on how camp or low-fi they perceive it to be. Camp, low-budget, low-fi it is, but it has something that Episode 2 of Star Wars in particular didn't. Namely, it has the ingredients of a rollicking good time. From the awesome soundtrack by Queen to the near-ridiculous action sequences, Flash Gordon is almost the last hurrah in an era where filmmakers were expected to spend at least as much time on script and dialogue as they do eye candy. What makes it all the more interesting is that beyond the basic setup, there almost is no story to speak of.

Beginning with a POV shot from some distant planet, we see how the world we take for granted is suddenly subjected to all sorts of destructive weather patterns by its Emperor. Emperor Ming has decided to shift the orbit of the moon in order to make it collide with Earth, leaving a handful of days before all life on the planet is destroyed. Not one to take this kind of thing lying down, a scientist by the name of Hans Zarkov is busily building a rocket so that he might go to the source of the attacks and reason with them. Coincidentally, a plane carrying football star Flash Gordon and some girl called Dale Arden crash into Zarkov's lab. Tricking them into boarding his rocket, Zarkov takes them on a brief trip to a world so barren one wonders where they find the liquid to sustain themselves. Taken captive and escorted to the Emperor, our heroes bear witness to a society in which Lords of several moons pay tribute to said Emperor. With their lives, if need be. The real fun begins when Ming takes an interest in Dale.

Interest is putting it mildly. In a classic script oversight, Ming decides within a moment of first seeing her that he wants Dale to do with as he will. Flash is naturally not one to take such things lying down, so he begins attacking Ming's guards with a series of offensive football-style strikes. This gets the attention of several Lords who have been awaiting the right moment to overthrow Ming, but the fight is lost before it has begun, for obvious reasons. Overpowered, Flash is sentenced to execution, and thus the first of many bondage-like outfits is seen. I am not one to cry out "gay" when I see two men express a powerful bond, but several people I have watched the film with now agree that Flash Gordon has one of the biggest gay, or S&M, themes going in 1980s film. Not that this is particularly important, but the amount of leather underwear and tights on display would have made the Village People blush. Of course, this is all just one adult subtext that will go right over the head of the children in the audience.

One commendable feature of Flash Gordon is the death scenes. Aiming a film at children and dispatching characters in a violent fashion is always a tricky business. This adaptation gets around the issue by showing the alien creatures melting after they are killed. The manner in which this is filmed would probably get Flash Gordon a more restrictive rating if it were released for the first time today. It reminds me in part of a description in Repo Man. Eyes, skin, even bones melt in a manner that tells us how alien the villains are in a way that all the prosthetics in the world cannot. Roger Ebert was right on the money when he wrote that Flash Gordon "is cheerfully willing to look as phony as it is". That he didn't mean it as a criticism shows that he got what the film was about. During action sequences, it assaults the senses and almost bullies the viewer into forgetting that what they are seeing is anything but real. During extended moments of dialogue, it flat out orders you to not take it seriously.

Making it all the funnier is that producer Dino De Laurentiis, that famed bankrupt-wannabe, thought the whole story was serious. As director Mike Hodges phrased it, anyone who watches the film will find that factoid "rather curious". Sam Jones is absolutely terrible as the titular hero, and yet it works because a certain idiocy is what the character requires. Really, the whole thing reeks of being rushed into production, and then rushed to theatre screens, which probably sealed its financial doom. Hodges apparently had to work with a crew whose language he did not speak, with a script that wasn't finished, and no storyboards to boot. Having seen the finished product on DVD after all these years, I have to confess that my respect for Hodges has gone right through the roof in light of this. Forget Flash - Hodges is the one who can rightfully claim to be king of the impossible. Anyway, when all is said and done, Flash Gordon is representative of the direction cinema might well have been better off taking.

For these reasons and more, I gave Flash Gordon circa 1980 a seven out of ten. Excitement and adventure always beat a big budget, as this film proves.