Sorceress (1982)

In a rare break from tradition, the poster (also the DVD cover) for the Roger Corman-produced 1982 sword-and-sorcery flick Sorceress is actually surprisingly accurate.

All the characters pictured there - including the griffon/manticore creature, the ape-man, the snake and the fancy sword - really do appear in the story, to some degree or another.

However, it's been a long time since I've watched a movie that felt so much like its plot was being made up as it went along.

Evil sorcerer, and possible '70s sex cult leader, Traigon (Robert Ballesteros) has pledged to sacrifice his first born to the gods, in exchange for "great power". Only his wife gives birth to twin girls and refuses to reveal which was born first.

The realm's magical martial arts master Krona (Martin LaSalle) spirits the girls away, and leaves them in the care of trusted peasants, who raise them as boys!

Mira and Mara grow up to become Leigh and Lynette Harris, identical twin Playboy Playmates, who clearly weren't hired for their acting chops, but rather their willingness to disrobe when asked.

Honestly, they're young men... with breasts!

The girls - who think they are boys - are discovered skinny-dipping (of course!) by horny satyr Pando (David Milbern), the travelling companion of pseudo-Viking Baldar (Bruno Rey), who looks like he's stepped off the cover of a Dungeons & Dragons novel and spouts random Norse words as oaths.

Although Pando can only communicate through bleating and mime, he fails to tell Baldar that the girls are actually girls, so that when Baldar comes to them in the wake of their adopted parents' murder by Traigon's wandering warriors, he fails to see through their 'cunning disguise'.

Krona pops up again to dispense some words of wisdom, setting them all on a quest to defeat Traigon, before walking into the parents' pyre.

Arriving in the city, the adventurers meet an old friend of Baldar's, the pun-cracking, permed barbarian rogue, Erlick (Bob Nelson), who tags along to make up the numbers.

Casual nudity aside, there's a definite Dungeons & Dragons vibe to this yarn, as the core "party" expands, then fractures off into smaller units for side-quests, but it's also full of random fantasy names and verbiage that doesn't feel like world-building so much as obfuscation of the fragile main plot thread.

The Harris twins as Mira and Mara

Everything culminates in a grand fight in a crumbling temple - although there's a parallel, sub-surface dungeoncrawl by Baldar and one of the girls - which features explosions, duelling gods in the sky, and some pretty cool-looking zombie-mummy-ghouls that rise out of the ground to serve Traigon.

As the "two who are one", Mira and Mara share a psychic bond that is actually employed in the story, although it's most memorable use is during a 'comedy' sex scene that leads Baldar to initially think one of the women is being tortured.

Possibly because he is cosplaying as Sturm Brightblade from the Dragonlance Chronicles, Baldar, it has to be said, is the best character in the 83-minute movie, not only looking the part but also maintaining a heroic persona throughout.

For all its Corman-inspired cheapness, dodgy special effects, and musical score lifted from Battle Beyond The Stars, Sorceress does have an overall engaging look about it. As well as Baldar's 'authentic' costume, Traigon's forces all wear these (probably totally impractical) neat-looking beaked helmets, for instance.

Ultimately Sorceress (there is no 'sorceress' in this movie) isn't actually that bad, it just lacks a coherent story for its quirky characters to fully engage with, leaving much of what happens to come across as just a bit random.

Corman In Conversation

Roger Corman, King of the Bs, reminisces about his start in movie making. In this original archival piece from Ballyhoo Motion Pictures, Corman takes the audience through his humble beginnings (he studied engineering!), and how he broke into the 'movie making' business. This featurette originally came out on the Blu-Ray release of Monster from the Ocean Floor.

Ahead of my birthday in 2013 Paul got tickets for the two of us to attend a talk at the British Film Institute: Roger Corman In Conversation.

The legendary B-movie director/producer was interviewed by renowned film critic Kim Newman in front of a packed audience of fans - and Paul had snagged us tickets just three rows back from the stage.

For an 87-year-old Corman was spritely and full of anecdotes, well-spoken and erudite, interesting and engaging - with nary a bad word to say about anybody.

It was an hour-and-three-quarter presentation, broken up with a few of trailers and clips from Corman's early movies, rounded off with the last quarter of an hour (or so) being open to questions from the floor.

As it was a flagship event in the BFI's Gothic season, the conversation between Newman and Corman concentrated largely on his Poe films (Lovecraft even got a mention, but Corman was adamant that he was a Poe fan ahead of HPL), but touched on his later works, his involvement with the American counter-culture movement and the output of some of his more famous protégés (such as Jack Nicholson and James Cameron).

As often happens after listening to such a fascinating character, I came away with a mental check list of Corman pictures I needed to add to my "viewing wish list" while ones that were already of the list got a bump up now I knew some of the behind-the-scenes stories about their making.

Massive thanks to the crew at Film Masters for making the interview featurette available for all.

Red Sonja (2025)

I'd put off watching Red Sonja for ages because I really, really wanted it to be a grand slice of sword-and-sorcery, but everything I had heard about it said it was awful.

If I remember rightly, the film had languished in post-production hell for (seemingly) years after it was shot, then suddenly popped up, got a single-night cinema release (I guess for legal or accounting reasons) and was then dropped on digital and solid media without much fanfare.

Things were not looking good, but I still held out hope.

And the thing, now that I've seen it, I wouldn't call it bad per se. But I couldn't, in all conscience, call it good either.

Red Sonja was created for Marvel Comics, at the height of their Conan boom in the 1970s. Although she treads the Hyborian Age lands of Robert E Howard's Conan, she was never a character in Howard's books. He wrote about a 16th Century warrior called Red Sonya. But there is no connection - except for red hair and a similar name.

Red Sonja is now a hugely successful character at Dynamite Comics, with several titles of her own as well as frequent transdimensional crossovers with other members of their stable, but still operating primarily in a version of Howard's Hyborian Age.

The film script by Tasha Huo bandies around names from Robert E Howard's adventure yarns of Conan The Barbarian, and I think there was even a half-hearted (and erroneous) nod to the Cimmerian warrior himself. 

But, Red Sonja never feels like it's part of an epic, sweeping world. It all feels rather small and ragtag, like a Roger Corman offering from the 1980s (but devoid of the raucous charm those films often had).

The scenery, both the Bulgarian exteriors and the (presumably) CGI fantasy locations and sets are all very impressive and certainly help create the mood for a fantasy movie.

It's just Huo's script and the direction of MJ Bassett that lets down the brave actors, who are coping as best they can with the material they have to work with.

After she survives the slaughter of her tribe by barbarians, Sonja (Matilda Lutz) grows up in an enormous forest, always looking for other survivors. I find it hard to believe, no matter how big this forest is supposed to be, that after 10 or 15 years she'd found no clues.

Eventually, she comes to the attention of the wicked emperor Draygan (The Umbrella Academy's Robert Sheehan) when she is captured and forced to fight in his gladiatorial arena.

Of course, she organises a rebellion and leads the gladiators to their freedom. They are pursued by Draygan and his army, which includes his consort, the highly-skilled ex-pit fighter Annisia (Krypton's Wallis Day), who is more adept with a blade than Sonja. 

And, honestly, that's about it for plot.

There's a bit about Draygan seeking the lost half of his ancient "book of secrets", which helps tie him (unsurprisingly) into Sonja's backstory. 

Despite what the Japanese film poster (below) may suggest, Draygan is not a wizard (which would have been way cooler) but some kind of techno-inventor. He's not quite steampunk, but he does create spikey Warhammer-like vehicles and mortars, which just feel incongruous in this setting.

Nature-loving Sonja has a special bond with her horse, which really reminded me of Brego and Aragorn in The Two Towers, but might also be a take on Geralt of Rivia and his horse, Roach, in The Witcher.

Like quite a lot in Red Sonja, this bond isn't really explained. And while some things work as a mystery, others need some degree of backstory.

For instance, there are a couple of great-looking ape-people in the film. And I liked the fact that there was no explanation of their presence, their species didn't even get a name. They were just part of the ensemble of characters.

We also can't overlook the nice gag about Sonja's infamous chainmail bikini. 

Towards the final act, Sonja undergoes a mystical transformation, truly becoming the She-Devil With A Sword we know from the comics - but really it's too late in the story.

This also really draws attention to the character's pre-transformation competence, the script never really gets a handle on how good a fighter she is supposed to be. Her skill with various weapons changing from scene-to-scene as the script required it.

However, upon her post-transformation return for the final showdown, she seems to have become almost a superhero (there's definitely a touch of The Crow in her face paint).

And, as with the bulk of superhero movies that follow this arc, it would have been far more interesting if she had been "powered up" from much earlier in the story. Gandalf didn't become Gandalf The White just for the Battle at The Gates of Mordor in Lord Of The Rings.

The fight sequences in Red Sonja are generally okay, but the majority of actual death scenes either happen off-camera, in darkness or hidden some other way. This isn't what the target audience for this genre of movie are looking for.

That being said, I was surprised at how touching and well-done the last moments between Sonja and Draygan were, as I'd been expecting her just to lop his head off.

However, Red Sonja's very final scene, set some time later, is a hilariously unearned attempt (imitating Marion Ravenwood's introduction in Raiders of The Lost Ark) to pry the door open for a sequel.

Don't hold your breath.

Japanese poster for Red Sonja

SINBAD WEEK: Captain Sindbad (1963)

Today's Sinbad movie not only boasts a wonderful selection of low-budget magic but also an array of cheesy monsters, and a variant spelling of the protagonist's name.

Heading home to the city-state of Baristan after years of clearly successful "adventuring", the charismatic Captain Sindbad (Guy Williams, better known as Professor John Robinson from the original Lost in Spaces series) is looking forward to marrying the Princess Jana (Heidi Brühl).

However, he is unaware that, since he has been away, the wicked warlord El Kerim (Pedro Armendariz) has seized control and is holding the princess and the king, her father (Rolf Wanka) hostage, with the reluctant assistance of alcoholic court magician Galgo (Abraham Sofaer).

The change in Baristan's power dynamics is graphically demonstrated to Sindbad though when his ship is dive-bombed by a squadron of rock-bearing rocs.

He is rescued by passing fishermen, and eventually makes his way to the city where he reunites with his surviving crew members.

Gaining an "audience" with El Kerim, Sindbad runs the villain through with his sabre, only to discover that the usurper can't be killed!

Forced to fight an invisible beast in the city's arena (possibly the biggest anti-climax of the otherwise fun picture), Sindbad slips free and eventually learns that the secret to El Karim's invulnerability lies at the top of a tower on the far side of the desert.

He, and his men, must then race there to solve the mystery before El Karim executes the princess, who has chosen death over a forced marriage to the wicked barbarian.

Captain Sindbad is a fantastical romp that never really lets its foot off the accelerator.

Considering the limitations of low budget special effects, the sorcerer Galgo utilises a wide variety of magic through the 85 minute movie, mainly leaning towards shape-changing spells, and the monsters - if you are willing to suspend your disbelief - are generally fun.

It has to be acknowledged that the invisible "thing" is a major disappointment though, not because director Byron Haskin doesn't try to demonstrate its presence with green-sparking footprints in the arena sand, but because Ian McLellan Hunter and Guy Endore's script brushes it aside so quickly that it's not really the threat to Sindbad it could have been.

Overall, the effects certainly aren't up to Ray Harryhausen standard (for instance, Galgo, at one point, extends his arm magically... and I was reminded of the Mr Fantastic effects in Roger Corman's Fantastic Four), but at least they tried.

However, what sealed the deal for me was the amazing (if effects- and budget-challenging) final act, which, essentially sees the good captain and his crew thrust into an old school "fun house dungeon", complete with strangling vines, whirlpool traps, alligator ambushes, a 12-headed hydra, a massive tower to climb, and an enormous animated fist for Sindbad to fight as the "boss monster" of the dungeon.

Princess Jana, despite the spunk she shows in the face of El Karim's threats, is rather lacklustre.

The princess aside though, this film is filled with interesting supporting characters, from the assortment of rogues in Sindbad's crew, to El Kerim's number two (Henry Brandon), who tries to act as the voice of reason, curbing his commander's more brutal excesses when he can.

But the breathless pacing from War of the Worlds' director Haskin means that while this isn't exactly high-brow fare, it's certainly colourful and surprisingly good family entertainment.

DEATHSTALKER WEEK: Barbarian - The Last Great Warrior King (2003)

A strange one this, although you'd expect nothing less coming from the stable of Roger Corman.

The 2003 movie Barbarian (with its totally meaningless subtitle of The Last Great Warrior King) attempts to be both a remake of, and a sequel to, the original Deathstalker (although without mentioning the name Deathstalker at all).

The protagonist of this 90-minute oddity is not only trying to retrieve the same three magic items as Deathstalker did (the Sword of Justice, the Amulet of Life and the Chalice of Magic), but is also facing a villainous wizard of the same name, Munkar, who has - once again - organised a tournament to find the best warrior in the land.

The faux Deathstalker here is the most-well groomed barbarian in cinematic history Kane (former Mr Universe and American Gladiator Michael O'Hearn), a love 'em-and-leave 'em wandering rogue who - for some inexplicable reason - gets drawn into saving the princess (Irina Grigoryeva) and restoring her father King Kandor (Yuri Petrov) to the throne after he was usurped by Munkar (Martin Kove of Cobra Kai, Karate Kid and Cagney & Lacey fame).

However what makes Barbarian its own, bizarre, entity is the introduction of Kane's sidekick, Wooby (Yuri Danilchenko), a cross between an ewok and a child in a rubbish Cowardly Lion Halloween costume, who squeaks and wobbles his way through the plot until the movie's climax, where he disappears and is never heard from again.

A bevvy of Ukrainian lovelies add the eye-candy and random topless moments, although as well as recycling the plot of Deathstalker, Barbarian also digs up vast tracts of old footage from the original film - mostly around the all-important banquet/orgy scene where not only does the Pig-Man appear once again but we also get the strange sight of the true Deathstalker (Rick Hill) watching the events unfold from the side-lines as well as a return appearance by Codille (Barbi Benton)!

However, this is even more surreal as an opening exposition flashback suggests that the events of Barbarian take place generations after Deathstalker - the "timeline" is even broken up with images of Roman soldiers - although there is never any suggestion that Barbarian is supposed to take place on our world!

For all this random weirdness, lacklustre dialogue and variable fight choreography, Barbarian still stands head-and-shoulders above Deathstalker II - Duel Of The Titans and that's even factoring in Wooby, who I'd heard was on a par with Jar-Jar Binks.

I'd take Wooby any time over Jar-Jar, at least he has some uses (he knows healing magic and is probably quite warm for those long, cold nights out in the wilderness).

DEATHSTALKER WEEK: Deathstalker (1983)

With a new iteration of Deathstalker for the 21st Century recently released Stateside on home video, it's time to revisit its progenitors.

Deathstalker, a cornerstone of my old VHS collection at university, is one of those classics of the low-budget sword and sorcery genre that is so truly awful that it is awesome.

The plot - what there is of it - sees the titular Deathstalker ("Mr and Mrs Stalker, do you really want to name your newborn son Death?"), played by Rick Hill, on some half-baked quest to find a magic sword (which is in the first cave he stumbles across) and then kill an evil wizard, Munkar (Bernard Erhard), who has taken over the kingdom.

Hef's ex Barbi Benton pops up as Princess Codille, daughter of the rightful king (not that that is really important) and demonstrates quite ably why her true vocation lay in the pages of Playboy.

Female nudity is pretty much a given in this type of film and Deathstalker is overflowing with buxom young ladies willing to disrobe.

Story, however, in this Roger Corman-produced "classic", isn't as evident. Things just seem to happen for no apparent reason, such as the whole "boy who is not a boy" prophecy sequence where Mr Stalker is turned into a kid for about two minutes.

And you've got to a love a film that ends with the hero seemingly blowing up!

Deathstalker may be bad but it's never dull. There's enough cheesy dialogue, portentous music, shaky scenery, severed limbs and general madcap rough housing to keep most viewers' attention.

And you've also gotta respect the warrior-woman Kaira (Lana Clarkson, who was shot and killed by music producer Phil Spector in 2003, had quite the track record for playing these proto-Xena roles) who not only disdains armour but any more clothing than a cape when she's off adventuring.

HALLOWEEN HORROR: The Gorge (2025)

To date, I've pretty much loved everything I've seen on Apple TV: the puzzle box that is Severance is, beyond a shadow of a doubt, one of the best TV shows ever; Slow Horses is near-perfection; the retro-futurism of Hello Tomorrow is wonderful; The Morning Show is great, engaging drama; and Monarch: Legacy of Monsters is a fascinating insight into the kaiju-filled world of the Monsterverse.

So, I wasn't worried clicking on The Gorge, especially as it has the added bonus of starring the flawless Anya Taylor-Joy who is incapable of making a bad movie. Even her co-star, Miles Teller (despite appearing as Reed Richards in the worst Fantastic Four movie of all time... and, yes, I'm including the unreleased Corman version), is generally seen as a safe pair of hands.

I couldn't have been more wrong. 

The Gorge is two hours and seven minutes of utter tedium. Our stars are a pair of elite snipers - Levi 'Married To His Job' Kane and Drasa - tasked with guarding a mysterious, smoke-filled, gorge and preventing whatever is down there from getting out.

Each stands guard in a tower on either side of the gorge, both forbidden to communicate with the other side.

The trouble from the get-go is that both characters are walking clichés (very early on Teller's Levi is sitting on a beach, cuddling a random dog, and I said to myself: 'I bet he writes poetry'... and an hour later, when Levi and Drasa finally get to meet he starts telling her about his poetry).

But it's also very obviously slightly racist/sexist because while both are supposedly the best at what they do, the implication is that Levi - representing America - is slightly better than - not-America - Drasa (who doesn't even warrant a surname), has slightly better technology, and so on.

For the first, painfully long, hour the couple are getting used to their new jobs and, as the months pass, starting to break the rules and communicate across the gorge.

This segment could easily have been compressed into 15 or 20 minutes, which might then have made what follows a bit more bearable.

Eventually, after a sneaky romantic rendezvous, they find themselves in the gorge, getting to the bottom of the mystery.

The trouble is there's a very strong chance that if you'd been thinking about what might be going on yourself you probably would have come up with something way more interesting than the 1950's B-movie explanation we get served up with.

At one point, I'd even wondered - when they were fighting giant insects - if The Gorge was somehow connected to Monarch: Legacy of The Monsters. But no such luck.

And the thing about the monsters our heroes find hidden in the mists is that we don't see enough of them. Perhaps horror-leaning director Scott Derrickson (Doctor Strange, The Black Phone) should have put more focus on the critters and less on the turgid banality of the padded first act.

There is absolutely no need for this Asylum-movie-on-an-Apple-budget to have been over two hours long. An hour and a half would have been fine and might have kept the pace (and my engagement) up a bit more. 

It's not that toothless creature feature The Gorge is really that bad, it's more a case that there's nothing memorable about it, from its generic stunts and forgettable monsters to its uninteresting explanation and predictable resolution.

The Raven (1963)

Having been turned into a raven by the leader of his order of magicians, Dr Adolphus Bedlo (Peter Lorre) convinces fellow sorcerer Dr Erasmus Craven (Vincent Price) to aid him in his revenge on Dr Scarabus (Boris Karloff) by letting slip that he saw Craven's dead wife Lenore (Hazel Court) at Scarabus's castle.

Accompanied by their children, Estelle Craven (Olive Sturgess) and Rexford Bedlo (Jack Nicholson), the two wizards take a hairy carriage ride to their foe's castle, only to find him warm and welcoming.

However, all is not as it seems, as Scarabus has orchestrated this meeting for his own devious ends.

Inspired by Edgar Allan Poe's famous poem, The Raven, with a script by I Am Legend author Richard Matheson and directed by producer Roger Corman, I had high hopes for this horror-comedy, renowned in gaming circles as Gary Gygax's inspiration for a number of old school Dungeons & Dragons spells (such as 'magic missile').

Boy, was I disappointed.

I don't think it was simply a case of the humour not ageing well, more like the fact that the whole affair came across as rather infantile in its forced attempts at japery; so much so that I was constantly reminded of being dragged to see puerile pantomimes as a kid (and I loathe pantomimes).

The Raven just isn't as funny as it clearly likes to think it is and you could almost hear the ba dum tsh drum sting after every supposedly amusing piece of childish clowning.

The antagonism between the sorcerers comes to a head in a protracted, wordless duel pitting the powers of Craven against Scarabus.

Sadly, this sequence also failed to live up to expectations - partially because of the dated special effects but primarily because there was no sense of jeopardy as the whole thing was being played for cheap laughs.

Hamstrung by extreme silliness, The Raven is not one of Corman's best offerings and there are plenty of other far better horror-comedies or comedy-horrors out there to pass 83 minutes of your time with.

The Fantastic Four: First Steps (2025)

I've been reading the Fantastic Four for over 50 years and have seen all the previous movies (even the unreleased Roger Corman version), but the latest offering from the official Marvel Cinematic Universe is - beyond a shadow of a doubt - the most comic book accurate to date.

Taking place on an alternate Earth to the main Earth-616 of the MCU, Fantastic Four: First Steps introduces us to the planet's heroes - Reed Richards/Mr Fantastic (The Mandalorian's Pedro Pascal), his wife Sue Storm/The Invisible Woman (Napoleon's Vanessa Kirby), Sue's brother Johnny Storm/The Human Torch (Stranger Things' Joseph Quinn), and family friend Ben Grimm/The Thing (The Bear's Ebon Moss-Bachrach).

In fast order, a chat show - hosted by Mark Gatiss - summarises the team's origin story and gives us a good look at the retro-futuristic 1960's world the team inhabit.

Soon after Sue reveals to the team that she's pregnant, Earth-828 is visited by the alien herald known as the Silver Surfer (Ozark's Julia Garner) to tell everyone that the planet has been selected as the next meal for the ever-hungry extraterrestrial "god" known as Galactus (The Witch's Ralph Ineson).

Naturally, Reed and co. want to prevent this and travel back out into space to try and negotiate with Galactus. 

The incomprehensible space kaiju, seated in his cyclopean planet-devouring spaceship, offers them a trade: it will spare the Earth if Reed and Sue give him their child, who Galactus says is a powerful cosmic being and the only creature that can take his place.

Of course, the Fantastic Four refuse this deal and head back to Earth, with the Silver Surfer and Galactus in pursuit across the vast expanse of space.

Once home, the people of Earth are initially angry at our heroes for turning down the offer that would have saved them all, but nevertheless the Fantastic Four knuckle down and try to come up with a scheme to dispose of Galactus and save the world.

With influences from classic science fiction films such as 2001: A Space Odyssey and numerous period B-movies, Fantastic Four: First Steps has more of a pure pulpy sci-fi feel than any previous MCU offering and, to my tastes, is all the better for it.

Kudos to director Matt Shakman (of WandaVision fame) and scriptwriters Josh Friedman, Eric Pearson, Jeff Kaplan and Ian Springer, for channelling the spirit of the original Fantastic Four comics by Stan Lee and Jack Kirby (there's a lovely explanation at the end of the credits tying Kirby to the choice of Earth designation).

I might have tweaked the look of a couple of the supporting members of the cast, but that's trivial compared to how much of First Steps is just so right in the eyes of this life-long Fantastic Four fan.

I cannot stress enough how "comic book" this film is. I nearly cried a number of times because it was so perfect, and the rest of the time I was either grinning from ear-to-ear or my jaw was on the floor from the sheer awesomeness and grandeur unfolding before me. 

For my money - although I'm obviously biased - Fantastic Four: First Steps is the best Marvel movie yet, perfectly encapsulating why I've always loved this team of characters as well as dropping multiple breadcrumbs and potential plot hooks for future movies.

We're going to have to wait until the end of next year and the release of Avengers: Doomsday though before we see the team again.

Although I can't wait for the home video release and the film's appearance on Disney Plus to watch it again... and again... and again.

I'd booked cinema tickets for Rachel and I to see Fantastic Four: First Steps weeks ago, prior to the whole "losing the power to walk" nonsense, but a kind attendant in the foyer of The Odeon (Tunbridge Wells) today swapped them for two spots in the third row. One was a place for me to park my chair, the other was an adjacent sofa seat for Rachel.

Naturally, she turned it into a comfortable bed and slept through about an hour in the middle of the movie - as is her wont. 

Rachel on her comfy sofa, next to me in my wheelchair slot

Having spied some Fantastic Four-themed merch on the way in, after the movie I was directed to the food counter where I was able to order an empty drink container and popcorn bucket (not that I eat popcorn).

Rachel had agreed to pay for these treats, but we both realised my "schoolboy error" in ordering them without asking the price. Both items were way more expensive than we'd naively imagined, but Rachel kindly got them for me anyway.

Back home, showing off my unexpectedly expensive Fantastic Four merch

Galaxy Of Terror (1981)

Recommended to me by my good mate Paul, Galaxy Of Terror is a slightly bonkers, early '80s Alien-wannabe, produced by the legendary Roger Corman and resplendent in that "they're making this up as they go along" feeling that he always brings to his movies.

In an alien galaxy, there is a world ruled by a glowing-headed dictator known as The Master (a very natty special effect, it must be said, and a character that has nothing to do with Doctor Who), who hand picks a miss-matched team of astronauts to embark on a rescue mission to the desolate planet Morganthus - where an earlier ship has crashed.

The rescue team boasts a host of well-known performers: Erin Moran (Joanie from Joanie Loves Chachi and Happy Days), Robert Englund (Nightmare On Elm Street, V etc,) David Lynch-stalwart Grace Zabriskie, horror-movie veteran Sid Haig and familiar TV faces Ray Walston and Bernard Behrens.

Throw in some rubbery monsters and an unpleasant assault by a giant rape-maggot that ranks with the original Evil Dead's animated tree as just plain wrong, and it's no wonder this has become a cult classic.

To be fair it quite quickly shakes off its Alien aspirations as it heads more into pseudo-psychological territory somewhere between Shakespeare and Space 1999.

For a low-budget schlockfest, Galaxy Of Terror has some very impressive visuals: as well as the storm-lashed surface of Morganthus we are treated to the sci-fi/Dungeons & Dragons delights of the massive, maze-like interior of a pyramidal structure the adventurers have to explore to turn off the energy beam that caused them to crash-land as well.

And if that isn't enough of an incentive to track this B-movie treasure down (as long as you can stomach the giant maggot scene and a squirm-worthy moment involving a shard of crystal sliding under someone's skin) there's the added bonus that the film is only 81 minutes long.