The new Deathstalker film, directed by Steven Kostanski (known for Psycho Goreman), is not so much a conventional remake as it is a gleeful, high-energy love letter to the ridiculous, campy sword-and-sorcery movies of the 1980s, particularly the Roger Corman-produced originals. Starring action veteran Daniel Bernhardt in the title role, this film delivers exactly the kind of bloody, creature-filled fantasy romp that fans of the subgenre have been craving.
The story is a familiar, yet highly effective, fantasy vehicle. Deathstalker (Bernhardt), a former soldier now working as a cynical battlefield scavenger in the kingdom of Abraxeon, stumbles upon a cursed golden amulet. The relic immediately binds itself to him, attracting the attention of monstrous assassins sent by the rising evil sorcerer Nekromemnon. To rid himself of the curse, Deathstalker must embark on a quest, reluctantly teaming up with the “shitty wizard” Doodad (voiced by Patton Oswalt) and the cunning thief Brisbayne (Christina Orjalo). The straightforward, quest-based narrative serves mainly as a framework to move the hero from one action sequence to the next.
Kostanski, a celebrated figure in the practical effects community, makes his aesthetic vision the film’s centerpiece. The movie is a celebration of handcrafted, tangible filmmaking. Instead of relying on polished CGI, Deathstalker unleashes an awesome parade of imaginative monsters using prosthetics, detailed creature suits, and even stop-motion animation. While these effects are intentionally rough around the edges—much like their 80s inspirations—this approach lends the world a genuine texture and fun, tangible quality that modern fantasy often lacks. The ridiculous gore and over-the-top violence further underline the film’s playful, unashamed sensibility.
Daniel Bernhardt is perfectly cast as the best iteration of Deathstalker yet. Known for his stunt and fight choreography work, he is excellent in the plentiful action scenes and brings a welcome physicality to the role. Crucially, he plays the barbarian straight, acting as the grounded, put-upon hero in a sea of absurdity. This contrasts perfectly with the over-the-top campiness and the fantasy-laden dialogue from his companions, ensuring the film remains fun and prevents it from becoming a mere parody.
Deathstalker (2025) is a midnight movie essential and a fantastic return to the lost genre of cheap, bloody, and enthusiastic sword-and-sorcery. It’s driven by a passion that shines through in every frame, from the awesome updated theme music to the endless procession of bizarre creatures.
If you have a high tolerance for camp, gore, and unapologetic B-movie absurdity, and appreciate the artistry of practical effects over slick digital polish, this movie is an absolute blast. If you are looking for a serious, lore-heavy epic, however, the relentless silliness and low-budget aesthetic might not be for you. It’s a loud, silly, blood-soaked action romp that fully earns its place in the Deathstalker legacy.
