Actuakers One of my all time favorites.

Teringer An Exercise In Nonsense

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Yazmin Close shines in drama with strong language, adult themes.

lost-in-limbo Well what can you say? It was silly. Unintentional of course. However this kitsch-like presentation works because of how cheap and ludicrous it is. Some things have got to be seen to be believed and this 80s take on "Hercules" has plenty in store. One sequence just sticks in mind, other than that meaninglessly grand opening. Hercules taking on a vicious bear. Cool! However how it's executed had me snickering. Actual bear footage spliced together with someone donning a very convincing bear suit. How to end it. The bear suit being flung into outer-space. It's just part of the tragedy that occurs… you know for dramatic effect."Hercules" is a low-grade, straight-laced good vs. evil sword and sorcery epic mainly consisting of echoing voices, tacky optical FX, colourful decors (sometimes miniatures) with moody lighting and some atmospheric illustrations / confrontations. The production did drum up some striking images amongst it's cheap sets / effects, but despite that it wasn't principally all that creative in presenting the material. How it plays out, is like a cosmic chest game between the gods. Hercules (the champion of men) must rescue a princess from being sacrificed and encounters obstacles along the way. Some odd moments (like the tin-bot monsters) and lame dialogues. Lou Ferrigno as Hercules has the physic, constantly flexing and twitching his muscles. Wooden, but fitting. William Berger milks it up in the villain role and Sybil Danning looks fetching, but has bite with her villainous turn. Brad Harris and Mirella D'Angelo also appear. Pino Donaggio scores the bombastic soundtrack. Director Lugi Cozzi does a clunky job, but keeps it moving along at a smooth pace. Ham-fisted, but charming entertainment.

buchass I accept bad movies with low budgets. But usually, its hard to me accept really, really bad movies with a reasonable budget! And "Hercules" is flagrant case. I know that Yoran and Globus productions are a quite "B", but they are reasonable in terms of cache, actually they are pretty reasonable for the "B" universe. I think Luigi Cozzi (the director), did a mediocre movie. The plot is absurd, makes no sense! King Minos is the bad guy? King Minos? but why? And what the hell are that robots? (Ray Harryhausen rip off?)If Hercules is so strong why he makes a such a brutal effort in a sword fight against normal human beings?? Well we never know..Oh one more thing, Daedalus, evil? a woman??!!...no comments.. With that budget, many directors could been done a much better movie.. But not everything is terrible in this movie, if you are in the mood for bad movies, call friends,and watch this incredible comedy! Tremendous fun! Trust me! If if you like this one, i recommend: "Hercules 2"(Luigi Cozzi) and maybe "Battle Beyond Stars" (well, don't ask me why, but i find similarities)"

windypoplar Hercules directed and written by Luigi Cozzi stars the great Lou Ferrigno as the title character and takes great liberties with his story. It's aimed squarely at kids, with its colorful characters and even more colorful special effects. What i liked about it was the steady pacing, the absolutely weird musical cues and Lou's solid, if perhaps too straight performance.Forget all you know about Herc, this film stands on its own. Some of the old tale is here, baby Herc does crush snakes sent by his stepmother Hera and he does grow up peacefully not knowing why he's so strong. An early battle with a giant bear is well-shot. Lou certainly looks the part, unlike some other actors who tried and he isn't that bad with the dialog, which is very ripe. In this version Herc's great love is Casseopeia, played by the very easy to look at Ingrid Andersson. I so wanted to get that veil off her face! Herc must win her hand by competing in a series of bizarre rites of Strong. Including the classic cleaning of the stables. Which is a great sequence using miniatures and super-imposition. Even the rocks look heavy and real for a change! Still Zeus, and at least one actor, Claudio Casselinni, was understated, wants the sides of good and evil to be balanced, so Herc and Cass are separated.Not to fear, Herc soon hooks up with sorceress Circe, played by another beauty in a barely there outfit. She aid him in his celestial quest to conquer the evil of Thera and save Cass from being a virgin(!) sacrifice! The set for Thera, the green isle of Atlantis actually, is one of the best I've seen outside of Star Wars: Episode IV, its truly a great work of lighting and miniature sets, complete with a flame-wielding colossus. Herc's great strength is no match for the witch Adriana (called Ariana in my version,) played by the buxom Sybil Danning, but his great heart is, he's loyal to Cass. This all leads to a duel with the evil King Minos, who wants science to rule the world at the expense of all emotion. Their duel with Herc wielding the sword of Zeus and Minos the fire sword of Atlantis is great. The finale is spectacular and I love Herc's ending line to the rescued Cass. and check her final outfit, wow! "How do I know you're really Casseopeia? Or are you Adriana is another form or Circe reborn?" She responds "I am all and none of them. I am the one who loves you!"Cool movie, what I didn't like was the cheesy robots, they simply looked bad! Also why was Daedelus, the God who helps Minos, played by a woman? Some elements of the plot were confusing. Still this a great family adventure, the hero is great the girls are lovely and there is nothing objectionable save some light violence. If you're looking for a fun movie that doesn't require too much brain power, this is it!

MARIO GAUCI Italian cinema had featured musclemen heroes as early as 1912's QUO VADIS (Ursus) and 1914's CABIRIA (Maciste) before making them truly their own and, by turns, seemingly invincible or buffoonish caricatures during the heyday of the peplum cycle around 1954-65. This, then, is yet a later variation clearly sparked by the recent spate of Hollywoodian mythological epics like CLASH OF THE TITANS (1981) and CONAN THE BARBARIAN (1981) but giving the old formula a new twist by sprinkling it with a dash of special effects wizardry a' la the STAR WARS saga! This shouldn't come as all that surprising when one realizes that its director is best-known for the infamous STAR WARS (1977) rip-off, STARCRASH (1979) – although, to be fair to him, he is also responsible for one of the unsung gems in the giallo canon, THE KILLER MUST KILL AGAIN (1975) and, at least, one other highly intriguing (and very rare) movie, TUNNEL UNDER THE WORLD (1969) which was also his directorial debut. Ironically, however, Cozzi only took over the assignment (from original director Bruno Mattei) when the producers were dissatisfied with the box office performance of the latter's previous film for them, THE SEVEN MAGNIFICENT GLADIATORS (1983)! Anyway, although I clearly recall watching this version of HERCULES (and its sequel; see below) on Italian TV at Christmas time in the late 1980s, the details of it all were so hazy in my mind that I virtually remembered nothing of the narrative other than that Hercules gets to do battle with several mechanical monsters and that there was a lot of footage of stars and planets and the like. Indeed, the film starts with a lengthy, potentially heretical prologue about the start of creation which, apparently, had everything to do with Zeus and the rest of the Greek gods colonizing the moon eons before the Russians did (by way of ultracheesy visual and sound effects) and nothing at all to do with…but this is not the right place to start debating the existence of God or otherwise – lest this review gets confused with another anti-THE GOLDEN COMPASS (2007) argument! TV's THE INCREDIBLE HULK and former "Mr. Universe" Lou Ferrigno certainly looks the part of the mightiest man alive but, unfortunately, can't act a lick and rarely changes his facial expression throughout the generous 100 minutes of screen time! He is abetted by a lovely Cassiopea (Ingrid Anderson – whose first and only film this was before going briefly into TV and then quitting for good!) and sultry villainess Sybil Danning and the supporting cast features a decent roster of both veteran and nascent Euro-Cult figures like ex-peplum beefcake Brad Harris, William Berger (as Hercules' No. 1 nemesis, King Minos), Claudio Cassinelli (as Zeus, Hercules' creator here – out of pure light, no less! – rather than his natural father), former Helen Of Troy Rossana Podesta' (her penultimate film, playing the rebellious deity Hera), Gianni Garko and Eva Robbins (as Berger's enigmatic scientific acolyte, with an unbelievably campy costume to match).Once one accepts the film's bizarre notion of setting the old Greek legends in outer space, this gets to be a veritable "so bad it's fun" show which possibly has few peers: an elaborately staged (relatively speaking), bloodthirsty coup d'etat early on comes to naught when the tyrant is never seen again in the rest of the movie!; Zeus's giant hand emerges from within a waterfall to catch Baby Hercules in his tiny boat inside which, however, are two snake-like creatures whom the infant soon squeezes the life right out of!; Hercules is adopted (in full-on Clark Kent fashion) by a family of simple folk and he is soon farming the fields single-handed via unwieldy contraptions but, when his putative father gets mauled by a grizzly bear, our Herculean hero gets so upset that he hurls the beast straight out into orbit and instant immortality as one of the stars in the constellation (I kid thee not)!; next up are a trio of mechanical assailants which, however, expire even before one gets to have a real good look at them (which is just as well, I guess as, otherwise, one starts to wonder why the weapon Hercules uses to dispatch one of the monsters looks suspiciously like a modern-day giant anchor)!; then Hercules tries his hand at a jousting tournament wherein he holds a dozen contestants simultaneously with their backs to the wall by means of a giant log which, once it serves its purpose in gaining him the championship title, also gets hurled into outer space!; later, Hercules sets his eyes on the veiled Cassiopeia and, to prove his worthiness, he cleans up the dilapidated stables (housing a thousand stallions we're told) with the aid of a nearby flowing river! I don't have time to go into all the other labyrinthine trials Hercules goes through before meeting up with King Minos for a hilarious confrontation with lightsabre-like swords but, in case you were wondering who was responsible for dividing Earth into the various continents, enquire no further! Oh, and he does get to ride a horseless chariot, too – by roping a rock and throwing it as far as...well, 'tis Hercules we're talking about after all! This Italian-made would-be epic – which also features a suitably rousing Pino Donaggio score – was a Cannon Group production (namely Israeli film-makers Menahem Golan and Yoram Globus) and followed hot on the heels of the similar THE SEVEN MAGNIFICENT GLADIATORS (my memories of which are even more lost within my subconscious) which reunites Ferrigno, Danning and Harris from HERCULES; the latter must not have done too badly at the box office because other films of its ilk came in its wake: not just the sequel but also SWORD OF THE VALIANT (1984), THE BARBARIANS (1987), MASTERS OF THE UNIVERSE (1987) and the troubled SINBAD OF THE SEVEN SEAS (1989; also with Ferrigno).