Release Date: November 10th, 1987 (Austria) Directed by: Steven De Jarnatt Written by: Michael Almereyda, Lloyd Fonvielle Music by: Basil Poledouris Cast: Melanie Griffith, David Andrews, Tim Thomerson, Pamela Gidley, Harry Carey Jr., Jennifer Mayo, Brion James, Marshall Bell, Laurence Fishburne, Michael C. Gwynne, Jack Thibeau, Robert Z’Dar
ERP Productions, Orion Pictures, 99 Minutes
“So, your robot is gone, pal. Why don’t you try some real women?” – Bill
This is one of those movies that’s been in my queue for years and since I had never actually seen it before, I thought that watching it was long overdue.
I liked that this film sort of blends the post-apocalyptic and cyberpunk subgenres in a cool way and it was also made at the height of those two great branches of the sci-fi tree.
The plot is about a guy whose love android dies, so he sets off into the post-apocalyptic wasteland to find the same model. He hires a badass chick played by Melanie Griffith, who guarantees that she’ll help him find the same robot lover.
As the film rolls on, they get into several mishaps, meet different groups of wasteland people and are almost always in danger. However, something starts to blossom between the two and by the end of the film, even though they succeed in finding a new robot lover, the guy is torn between his “love” of the machine and his love of the real woman he just went on a hell of an adventure with.
The movie is pretty action packed and even though it’s littered with cheese, it’s a deliberately campy movie made to be over-the-top and fun.
The film also has a lot of cool character actors in it like Brion James, Robert Z’Dar and Marshall Bell. It also features a young Laurence Fishburne and the robot girl is played by Pamela Gidley, who was the hot girl from the Josh Brolin starring Thrashin’.
All in all, this isn’t a great film but it’s an entertaining one for those who are into these genres and campy, action-filled adventures.
Also known as: Bug Hunt at Outpost Nine (original script title), Invasion (some Spanish speaking countries) Release Date: November 4th, 1997 (Westwood premiere) Directed by: Paul Verhoeven Written by: Edward Neumeier Based on:Starship Troopers by Robert A. Heinlein Music by: Basil Poledouris Cast: Casper Van Dien, Dina Meyer, Denise Richards, Jake Busey, Neil Patrick Harris, Patrick Muldoon, Michael Ironside, Clancy Brown, Seth Gilliam, Bruce Gray, Marshall Bell, Amy Smart, Dean Norris, Rue McClanahan
Big Bug Pictures, Touchstone Pictures, TriStar Pictures, 129 Minutes
“[to Rico] I need a corporal. You’re it, until you’re dead or I find someone better.” – Jean Rasczak
I shouldn’t have slept on this movie in 1997 but I missed it in the theater, as the marketing for it made it hard to peg what it was. As it picked up a cult following, however, I eventually got intrigued enough to check it out and I was really surprised by it.
I also didn’t know that it was directed by Paul Verhoeven. Had I been aware of that, I probably would’ve seen it on the big screen, as RoboCop is one of my top films of all-time and I also really liked his interpretation/loose adaptation of Philip K. Dick’s story that became Total Recall.
Now I hadn’t seen this in a really long time, so I wasn’t sure how well it would hold up. While it does feel very ’90s, it’s still fun as fuck and I had a great time revisiting it and honestly, it made me wonder why I didn’t revisit it more often.
This is over the top and pretty damn nutty, at times, and in fact, it almost plays like a comedy while also being a much smarter, layered commentary film than one might expect. But Verhoeven has proved, with his sci-fi pictures, that he can take what could be easily written off as hokey bullshit and turn it into something with real merit that sticks with you, makes you think but also checks all the boxes under the cool, badass and entertaining categories.
Starship Troopers is unique and cool but it’s also so unique and cool that it’s a really hard formula to replicate, which is probably why the sequels are looked at, by most, with disdain. It’s kind of similar to RoboCop in that the formula only seems to be really effective once.
Beyond just Verhoeven’s work, the film is carried by its characters and their stories. You care about these people in this batshit universe and you want to see them succeed and crush the invading insects that want to conquer mankind and use Earth as just another one of their many hives.
People for years have debated the meaning of the movie and while some might take issue with the fact that it’s not made abundantly clear, I think that it’s a lot more effective and interesting that its kind of left open for interpretation and I think that its message isn’t made clear because Verhoeven was really just exploring his own thoughts on the subjects presented in the film.
Besides, that shit isn’t even that important, as this is just a fun movie about space marines blowing up giant bugs and it can be enjoyed as simple, mindless entertainment without trying to over-analyze the fuck out of it.
Rating: 8/10 Pairs well with: other releases from the Starship Troopers franchise, as well as other sci-fi films by Paul Verhoeven.
Also known as: Crocodile Dundee III, Crocodile Dundee In Hollywood, Crocodile Dundee Returns (working titles) Release Date: April 12th, 2001 (Australia) Directed by: Simon Wincer Written by: Eric Abrams, Matthew Berry Based on: characters by Paul Hogan Music by: Basil Poledouris Cast: Paul Hogan, Linda Kozlowski, Jere Burns, Jonathan Banks, Aida Turturro, Paul Rodriguez, Steve Rackman, Gerry Skilton, Mike Tyson (cameo)
“Now, you pick out what you want on that menu there. Then you yell it out into that box. Then in 2 minutes, you’re scoffing it down, without even getting out of the car.” – Mick Dundee, “So, you can eat like a pig… and nobody can see you. [winks] Clever buggers, these yanks.” – Jacko
If I’m being honest, I wasn’t looking forward to revisiting this film, even though I just revisited the two chapters before it and still found them to be entertaining and a great way to waste a few hours.
This one was bad when it came out and time hasn’t done it any favors. In fact, it’s made it worse.
The main issue with this picture is that it wasn’t even written by Paul Hogan. Some other blokes took over that part of the creative process for some reason.
The second issue is that this waited way too long to come out. There is a thirteen year gap between its most recent predecessor and it hurts this movie a lot, as it feels like it’s written like an early ’90s comedy and not something that was made at the turn of the millennium. Honestly, it kind of shows that the style of film that the first two Crocodile Dundees were, were products of their time that worked well back then but not in 2001.
The story is a mess and it takes the weakest part of the first film, which was just being a series of “fish out of water” segments and embraces them more than any of the other installments. It just doesn’t work and most of the bits and gags fall flat in spite of Paul Hogan still having a hell of a lot of charm. But that charm just can’t save a poorly written, unfunny turd.
In fact, the only comedic bits I found amusing were the ones with his buddy, Jacko. They had good chemistry and they were funny together but these scenes were kind of scant and didn’t do anything to propel the story forward.
The criminal plot in this movie is also pretty dumb. It has to do with a Hollywood producer that shoots movies in Europe and Hollywood, using the travel between the two locations as a way to smuggle valuable paintings out of Europe. It’s damn asinine.
Anyway, you can watch the first two movies and still get a lot of enjoyment out of them. This one, not so much.
Well, except for that bonkers Mike Tyson cameo; I can watch that anytime.
Rating: 4/10 Pairs well with: the other Crocodile Dundee films but they’re both a lot better than this one.
Release Date: January 17th, 1986 Directed by: Sidney J. Furie Written by: Kevin Alyn Elders, Sidney J. Furie Music by: Basil Poledouris Cast: Louis Gossett Jr., Jason Gedrick, David Suchet, Larry B. Scott, Caroline Lagerfelt, Tim Thomerson, Shawnee Smith, Melora Hardin, Lance LeGault, Jerry Levine, Robbie Rist, Michael Bowen
“I wonder what a Cessna looks like splattered all over those rocks?” – Packer
This doesn’t survive on nostalgia points for me. Honestly, I didn’t even like this film as a kid. I mean, I enjoyed the last half hour, as that’s where the action comes in but everything leading up to that was really damn boring.
Seeing this now, and it has been at least thirty years, I was surprised that I wasn’t pulled into it a bit more as it features two teen actors from the time that I really liked: Larry B. Scott and Jerry Levine.
But the real problem with this movie is that it’s too damn long. I mean, this is nearly two full hours and only the last half hour is actually somewhat enjoyable. And to be honest, they could’ve lobbed 30 to 40 minutes off of this thing and no one would’ve noticed.
Additionally, even though the actual mission at the end is fairly fun, it’s full of flaws and errors that are distracting.
The main thing that sticks out is the editing. There are multiple moments in the movie where the video loop behind the pilots’ heads resets. So you’re looking at closeups of pilots in the cockpit talking and the background goes from a clouded sky to a quick jump of clear sky.
Plus, there are mistakes in how the action is edited that don’t make sense from a logistic and physics standpoint.
I think the thing that may irritate more than the shoddy editing is the models used for the planes, as every time one explodes, it is obviously a miniature and made of wood. Fighter jets don’t splinter like a balsa wood chair in a Chaplin movie. But I get it, it’s the ’80s, CGI didn’t exist like it does now and the film had a modest budget. But no one could call in a favor to one of the guys that worked on model making for the Star Wars or Star Trek films?
The acting is pretty bad too. And even though Louis Gossett Jr. has shown that he has chops, I think that it is this movie that actually wrecked his career. He went from An Officer and a Gentleman to this? But hey, at least it allowed him to have his own franchise, which he would then have to rely on over the course of three shitty sequels.
Seeing Iron Eagle now, I don’t hate it. It just would have been much better with a lot of stuff left on the cutting room floor and a bit more refinement in the film’s action packed climax.
I’m going to completely ignore the fact that the plot is stupid because this is the ’80s and it was escapism for kids, trying to capitalize off of the popularity of movies like Red Dawn. But in case you don’t know what the plot is, it’s about a decorated Colonel that helps a teenager steal an Air Force fighter plane to attack an enemy country in an effort to save the kid’s dad. Let that marinate for a minute.
So if I ever do watch this again, I’ll just skip to the finale and ignore the plot details.
Rating: 5.25/10 Pairs well with: probably its subpar sequels and other ’80s and ’90s teens movies that throw kids into war or combat like Red Dawn, The Rescue and Toy Soldiers.
Release Date: April 13th, 1994 Directed by: John Waters Written by: John Waters Music by: Basil Poledouris Cast: Kathleen Turner, Sam Waterson, Ricki Lake, Matthew Lillard, Mink Stole, Mary Jo Catlett, Justin Whalin, Traci Lords, Suzanne Somers, Joan Rivers (cameo), L7, John Waters (voice)
Polar Entertainment Corporation, Savoy Pictures, 93 Minutes
“If ever there was a time to go on record against the death penalty, wasn’t it that night? Capital punishment is already the law in the state of Maryland. So what are we waiting for, fellow Christians? Let’s just do it.” – Father Boyce
It’s been years since I’ve seen this but man, it was really refreshing seeing it again for probably the first time since it came out on video back in the mid-’90s.
I forgot how fantastic this movie was. But then it’s a John Waters film and his style of humor mostly works for me. And his ’80s and ’90s movies were a bit more palatable for mainstream audiences.
While Kathleen Turner is a damn fine actress, I don’t think she ever had a better time than she did making this movie. I mean, she looks like she is having a blast in every single scene. She commits to the bit wholeheartedly and gave us a stupendous and iconic performance in this film.
Granted, this wasn’t a big hit and is sort of a cult movie but that also kind of makes this cooler, as not a lot of people know about it and the few I brought it up to don’t even remember its existence. Although, I’m not sure how this went down the memory hole, as it’s an entertaining romp full of cold blooded murder and a solid critique on the celebrity status of serial killers in American culture.
It also peers beyond the facade of mainstream Americana. While this was a pretty common trope in the movies of the time, when it works, it works and Waters has a certain panache that others can’t match or attempt to replicate.
I love that this takes place in the ’90s but has a strong ’50s sitcom feel to it. But Waters was a master of channeling nostalgia from that era.
While Turner is the absolute centerpiece of this film and owns every scene, the rest of the cast is outstanding as well. Especially her family, played by Sam Waterson, Ricki Lake and Matthew Lillard.
My only complaint about the film is that sometimes characters’ motivations are confusing. Like how Turner’s family supports her and wants her to get off from the six murders she’s being tried for but then are immediately fearful when she gets away with it and is coming home.
Also, the ending was just sort of okay and predictable.
Additionally, the first two-thirds of the movie are perfection. But things slow to a crawl and become less interesting once the trial starts.
Still, this was a motion picture that I was really happy to revisit. And ultimately, it made me realize that I need to go back and work my way through John Waters filmography again.
Rating: 8.25/10 Pairs well with: pretty much anything by John Waters.
Release Date: May 1st, 1993 (Japan) Directed by: Fred Dekker Written by: Frank Miller, Fred Dekker Based on: characters by Edward Neumeier, Michael Miner Music by: Basil Poledouris Cast: Robert John Burke, Nancy Allen, Robert DoQui, Felton Perry, Rip Torn, Mako, John Castle, CCH Pounder, Stephen Root, Jeff Garlin, Shane Black, Bradley Whitford, Lee Arenberg, Daniel von Bargen
Orion Pictures, 104 Minutes
“Well, I gotta hand it to ya. What do they call ya? Murphy, is it?” – The CEO, “My friends call me Murphy. You call me… RoboCop.” – RoboCop
RoboCop 3 should not exist. Well, at least in the form that it does.
For one, Peter Weller left the series and Nancy Allen’s Lewis gets killed off pretty early on, leaving us with a movie mostly devoid of the actors and characters we’ve come to care about except for a few minor side ones like the the police sergeant and Johnson.
Not even Dan O’Herlihy came back to play the Old Man in charge of OCP. I guess his absence was explained by OCP being bought by a Japanese company. So instead of the great O’Herlihy, we got a bored looking Rip Torn as the new head of OCP. Johnson was still there though, even if he felt out of place hamming it up with new office buddies.
The story deals with a bunch of poor people getting violently thrown out of their homes so OCP can steal the land and build Delta City, which has been an overused plot point since the first movie. RoboCop catches feelings for the poor people, especially after meeting a four year-old girl that hacks ED-209s and watching Lewis get gunned down by a private military company hired by OCP. There’s also some terrible cyborg ninjas in this. Oh, and RoboCop gets a pointless gun arm and a lame as shit jetpack.
The special effects in this are laughably bad, even looked at within the context of the era this was made in. This is a much cheaper looking movie than RoboCop and RoboCop 2 by a wide margin. ED-209 looks about the same but I’m sure they just reused one of the robots from the first film. RoboCop himself is a new actor but he’s wearing Peter Weller’s suit, which was too short for the new actor and caused him a lot of pain.
RoboCop 3 is just one costly shitshow that has nothing redeeming hidden within it. I’ve only seen this one a few times but I’ve watched the first two at least a dozen times each. This is just really hard to sit through and pretty much a pointless film, overall.
Rating: 3.75/10 Pairs well with: the first two RoboCop movies but they’re far superior and I guess any bad RoboCop ripoffs with an extremely low budget, hokey effects and crappy acting.
Also known as: Robocop: The Future of Law Enforcement (script title) Release Date: July 17th, 1987 Directed by: Paul Verhoeven, Monte Hellman (uncredited second-unit director) Written by: Edward Neumeier, Michael Miner Music by: Basil Poledouris Cast: Peter Weller, Nancy Allen, Dan O’Herlihy, Ronny Cox, Kurtwood Smith, Miguel Ferrer, Ray Wise, Robert DoQui, Felton Perry
Orion Pictures, 102 Minutes
“Dead or alive, you’re coming with me!” – RoboCop
I put off reviewing RoboCop for a long time on this site because it’s one of my all-time favorite movies and I wanted to save it for a rainy day. Well, the day wasn’t rainy but I was suffering from my almost annual mini cold that all the snowbirds bring down to Florida every January.
It is hard for me to talk about this film and not get overly excited about it, which certainly gives me a strong bias towards it and also taps into nostalgia and the possibility that I can’t be as objective, as I don’t care about a single flaw in the movie. But there really aren’t many, to be honest, and this was absolutely one of the best action movies of the ’80s and really, it’s better than almost every action movie now, 32 years later.
This is a film that just has the right kind of magic. It is lightning in a bottle and even though I like the first sequel, that film doesn’t come close to what director Paul Verhoeven did here. Plus, the script by Edward Neumeier and Michael Miner was absolutely superb. But the one thing that really brings everything together is the stupendous score by Basil Poledouris. His work on the Conan films and its themes were wonderful. Poledouris worked his musical magic again and gave RoboCop one of the best themes of all-time and the score is pretty incredible, overall. They just don’t quite make movie music this good anymore and without it, I don’t know if the movie has the same sort of energy and spirit.
All of those elements I just mentioned, created a film where the tone was perfect for the story that they needed to tell. And all of these solid pieces coming together so well still doesn’t account for how great the cast was. I mean, RoboCop truly is a perfect storm of badass sci-fi action.
Peter Weller is RoboCop and it will always be the role he is most remembered for but he has such a long and rich career of amazing performances that it isn’t hard to understand how he was so good in this and how he gave a robotic character a real sense of humanity. You feel his emotion, his pain and it is impossible to not root for Alex Murphy a.k.a. RoboCop.
The villains in this were so damn good though. They were kind of terrifying to me, as a kid, but the impact of who and what they are is still strong and it isn’t lost in a film where there is some of that famous ’80s movie cheese. The bad guys are well written with strong dialogue but they were also well cast between Kurtwood Smith, who steals the show, Ronny Cox, Ray Wise and even Miguel Ferrer, who isn’t specifically a villain but he is a reckless yuppie piece of shit.
I love Dan O’Herlihy in just about everything I’ve seen him in. He was creepy as hell as the villain in Halloween III and on the flip side of the coin, he was absolutely lovable as Grig, the alien co-pilot in The Last Starfighter. This is my favorite role he’s ever played, however. He was great as the old man running OCP, the corporation that pretty much owns all of Detroit. I also love that he continued to play the role after this film.
RoboCop birthed a franchise. While no other movie in the series has lived up to this one, which is a really tall order, it still spawned comic books, video games, a cartoon, action figures, sequels, a live action TV show, TV movies and a remake nearly three decades later. In fact, there is another RoboCop film in development now.
Many ’80s films don’t age well and while this is very much an ’80s motion picture, it doesn’t feel dated in quite the same way as other similar films from the time. RoboCop doesn’t have a dull moment and none of it slows down, it’s just balls out action and super violence of the highest caliber. Even critics love it and this is the type of thing that critics loathe.
If you’ve never seen this film, you’ve done yourself a disservice.
Rating: 10/10 Pairs well with: the RoboCop sequels and the first two Terminator movies.
Also known as: Conan II, Conan: King of Thieves (working titles) Release Date: June 29th, 1984 Directed by: Richard Fleischer Written by: Roy Thomas, Gerry Conway Based on:Conan the Barbarian by Robert E. Howard Music by: Basil Poledouris Cast: Arnold Schwarzenegger, Grace Jones, Wilt Chamberlain, Mako, Tracey Walter, Olivia d’Abo, Sarah Douglas, Andre the Giant, Pat Roach
Dino De Laurentiis Corporation, Universal Pictures, 101 Minutes
“How do you attract a man? What I mean is, suppose you set your heart on somebody. What would you do to get him?” – Princess Jehnna, “Grab him! And take him!” – Zula
I don’t think I’ve ever met a single person that prefers this film to its predecessor, Conan the Barbarian. That being said, this is still an enjoyable flick that’s pretty cool to revisit once or twice a decade.
The Conan character is cool and almost everything he’s been in has been good. This film fails to live up to the one before it but sequels rarely do. That doesn’t make it bad, it’s just a movie that was really lacking in overall quality and intensity because the studio realized that this character had young fans and thus, we got a PG movie instead of something with a solid R.
The special effects were a mixed bag. Some of it looked pretty bad but certain things, even if not spectacular, still had an enchanting allure about them. For instance, when the ghost-like dragon steals the princess, it’s a very dated looking effect but it has a real dreamlike quality to it that just works. Also, even though the mirror room sequence was shot under too many lights, it still felt otherworldly and mesmerizing.
The monster effects weren’t very good and I think having a bunch of bizarre creatures in this, sort of dragged down the rest of the movie. The picture tried to be more creative and ambitious than the first one, where the only real creature was a giant snake, but all the monsters looked rubbery, clunky and not very inspiring.
Also, the story is a mess. I’ve seen this film at least a half dozen times and I still don’t know what the hell is going on in half of the scenes. I feel like a lot of context and exposition was left on the cutting room floor.
What makes this film work for me though, is the cast. I pretty much like everyone in this film and the chemistry between Arnold Schwarzenegger and Grace Jones is stupendous. I wish they had done more movies together when they were both in the prime of their careers.
Tracey Walter was good in the film; he’s a character actor that popped up in a lot of stuff in the ’80s and ’90s. I also enjoyed Sarah Douglas, who I wish was in more movies back in the day. Olivia d’Abo did a decent job for this being her first movie. I think the only weak person in the main cast was basketball legend Wilt Chamberlain, who was never much of an actor but at least he gave it a shot.
This is directed by Richard Fleischer, who would also helm Red Sonja, a year later. He had a really interesting career, as he directed so many different styles and genres of film. He also directed 20,000 Leagues Under the Sea, Soylent Green, Fantastic Voyage, Tora! Tora! Tora!, Doctor Dolittle, Mandingo, Amityville 3-D, the 1980 version of The Jazz Singer and lots of classic film-noir pictures.
Basil Poledouris returned to score the movie but this one isn’t as memorable as the first film’s iconic music. This film’s theme isn’t as powerful and just lacks the extra oomph that Conan the Barbarian had.
If you enjoy the Conan franchise, you’ll probably enjoy this movie. I still feel compelled to revisit it from time to time and I’m always glad when I do.
Rating: 6.25/10 Pairs well with:Conan the Barbarian, the Conan the Barbarian remake, Red Sonja and the first Beastmaster.
Release Date: April 2nd, 1982 (Sweden) Directed by: John Milius Written by: John Milius, Oliver Stone Based on:Conan the Barbarian by Robert E. Howard Music by: Basil Poledouris Cast: Arnold Schwarzenegger, James Earl Jones, Sandahl Bergman, Ben Davidson, Gerry Lopez, Mako, William Smith, Max von Sydow
Dino De Laurentiis Corporation, Edward R. Pressman Productions, Universal Pictures, 129 Minutes
“Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. All that matters is that two stood against many. That’s what’s important! Valor pleases you, Crom… so grant me one request. Grant me revenge! And if you do not listen, then to Hell with you!” – Conan
Conan the Barbarian is a hard movie to top in the sword and sorcery sub-genre of fantasy. It really set the standard in 1982 and it also spawned innumerable ripoff films, mostly from Europe and mostly schlock. A few wannabe Conan pictures were good but there’s too many to address when I’m here to specifically review this film.
This is also the superior Conan film, as its sequel didn’t live up to this one and its remake, decades later, was lacking the lightning in a bottle that made this film special.
When I was a young boy, I looked up to this film. I looked up to Conan and his struggle and his fight to seek out justice for himself and eventually, the world he lived in. In 2018, this would be considered a film that exudes “toxic masculinity” while being dismissed as shit by third wave feminists and male apologists. Sorry, but Conan, even fueled by revenge, was a flawed hero that went on to be a king, against all odds, and continually vanquished the evil in his world. In fact, this film got me into reading Conan comics, as well as the original stories by Robert E. Howard.
Conan the Barbarian is a balls out, unapologetic action film about one badass dude that’s not just going to take the bullshit of tyrants.
Now the film, like its title character, has its flaws. But compared to other big action movies of the time, those flaws aren’t as bad and not as apparent.
The acting is what you would expect from a Schwarzenegger film, the direction is much better than average and the special effects are actually great for a 1982 film that didn’t have a massive budget.
The thing that really makes this film more superb than it would have otherwise been is the score by Basil Poledouris. Conan the Barbarian has one of the coolest and most powerful themes in film history. It isn’t just the title theme that’s great though, it’s the music throughout the entire picture. It just sets the mood and pacing right. It accentuates the action and subtly gives life to the slower bits.
My only real complaint about the film is it does feel drawn out too long. They could have fine tuned it, whittled it down by 15 minutes and it probably would have moved at a brisker, more energetic pace. There are a lot of action sequences and there are a few moments where you feel like you’ve reached the big finale, only for the film to stretch on more. But don’t get me wrong, all the action bits are damn solid.
The opening sequence of this film is powerful, beautiful and breathtaking. It is the best shot and best paced sequence in the entire movie but it really draws you in and makes you want to go on this long journey with the hero. James Earl Jones, no matter how many times I have seen this scene, is still absolutely chilling.
Conan the Barbarian is a film that couldn’t be made in quite the same way that it was in 1982 with Hollywood politics being what they are.
Although, I could be wrong about that, as the new Conan the Barbarian comic by Marvel surprised me in how badass and brutal its recent first issue was. But maybe that’s only because it speaks to a particular audience that Marvel knows they’d lose if they messed with the formula.
Rating: 7.75/10 Pairs well with:Conan the Destroyer, the Conan the Barbarian remake, Red Sonja and the first Beastmaster.