A warrior takes on a bloody quest in the hilarious, violent fantasy satirical Deathstalker remake, from writer-director Steven Kostanski, presented as part of Fantastic Fest 2025. [April 2026 update: Now streaming on Shudder and released on physical media via Shout Factory]
First off, I’ve not seen the original Deathstalker movies. I should have by now. I love the silly, despite over-serious tones, sword-and-sorcery flicks of the ’80s and ’90s. They hit me in the right way (Beastmaster is my personal favorite, just so ya know). But as it happens, these never crossed my eyes, at least in whole. I’m sure I’ve seen portions during cable TV scan thoughts over the years. I thought about popping at least the first one in before watching the remake (and it’s available for free just about everywhere), but I elected to let the 2025 edition stand on its own, so it doesn’t become a compare-and-contrast. I think that worked out best, as I loved every goopy, goofy minute of writer-director Steven Kostanski’s flick. How close it hews, I don’t know. But this take on Deathstalker is a wildly hilarious, irreverent, and just plain fun satire of those much-loved cheap epics of decades past.
The plot, as it is, is rather boilerplate to the genre: Deathstalker, a roaming warrior, comes across an amulet tied to a prophecy. Villain Nekromemnon (perfect) and henchpeople are trying to get a hold of it for some nefarious purposes. Deathstalker and his companions, a magic elf/gnome/goblin/something and a musician warrior woman, meet a slew of monsters, warriors, magicians, goodies, baddies, and everything you’d expect from this sort of film, with the addition of most of said folks ending up piles of blood, bones, and viscera. Not too much of a spoiler, it’s clear from the opening shot: a sword cleaving through a neck with arterial spray to match The Pit in Army of Darkness. Does the plot make a lot of sense? Nah. Did Ator add up? It doesn’t need to; it’s a device to propel through the series of clever and creative bloodlettings.
There is a sheer love in creating a rousing, crowd-pleasing flick. It may be parody, it may be working with a tongue-in-cheek vibe, but it’s one fully out of love for the genre and pure entertainment value that comes from everyone involved doing what they love. This version is directed by Steven Kostanski. He’s best known for the wonderful sci-fi/horror flick PG: Psycho Goreman, along with work with Astron-6 like Father’s Day and The Void. PG was my number 3 film of its year. If you’ve not seen it, seek it on Shudder now. What I lovingly referred to as “Peter Jackson’s Lilo and Stitch” was over the top violent, with amazing creature design, and violence out of the wazoo and every other orifice. It’s this styling that permeates Deathstalker. The energy and methods of PG, but with fantasy trappings over sci-fi. Gotta love a film that abounds with “hell yeah” guitar riffs at each awesome beheading.
It’s all a wonderful excuse for an excess of amazing monsters. As it was in PG, Deathstalker is filled to the brim with purposefully goofy, incredibly designed monsters. Multiple heads, extra limbs, weird eye things, so much stop motion (of course, stop-motion skeletons are fighting), so many skulls, mutants, and swamp monsters. All of them soon ripped to shreds with never-ending blood geysers. It’s a practical effect lovers’ delight. In addition, the battles that lead to the bloodshed are excellently choreographed. All the actors are well-traveled stunt performers and thus allowed to let loose without fancy camera tricks to hide any inexperience. Yes, some aspects betray the low budget: confined sets, minimal costuming detail, and overall cheapness. But this works into the world built in Deathstalker. Every penny is on the screen.
The scripting to bring Deathstalker and friends through the story has a solid satire that winks in self-awareness of the trappings, calling to and referencing how it falls together. It’s a fun irrelevance, brought to life by the game cast. As noted, they are well-established action folks, and they balance enough character readings with the needs. Daniel Bernhardt, as Deathstalker, has charm and muscles to spare. He’s fully committed to the bit, with his purposely terrible wig and sly performance. With his double blackbelt, he has more than enough ability to carry all the action. It’s nice to have him as a character that isn’t a goon to be dispatched, but as the hero. I hope this gets him more. Geek icon Patton Oswalt voices the elfen companion with his trademark acerbic awareness. Christina Orjalo as warrior Brisbayne is fun. They work together well.
It’s interesting to have a new Red Sonja and a new Deathstalker released within months of one another. Red Sonja, which I really enjoyed, is a serious update. Where Red Sonja updates and speaks to the genre for today’s age, Deathstalker gloriously dips into the excess of the wanna-be epics, gleefully delving into the sillier end of things. They both deliver, but in wildly different ways. Watch the pair as a double feature!
Deathstalker thrilled and excited me to no end. It’s a blast of irrelevant, goopy, and goofy filmmaking. From each arterial spray from all the awesome monsters, I gained a solid laugh and a huge grin. If a blood-soaked sword-and-sorcery satire with great practical creatures is your sort of film – you know, those who like to have fun, you’ll dig Deathstalker. I so wish I could see it with a midnight crowd.
Deathstalker is presented through Fantastic Fest, running from September 18th to September 25th.
As of April 2026: Deathstalker streams on Shudder and available on physical media via Shout Factory.