A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusional from their leader.
We have many Romero regulars here in a type of film not generally associated with Romero: Christine Forrest, John Amplas, Tom Savini, Ken Foree, Michael Gornick, Scott Reiniger, Patricia Tallman. Although Ed Harris was not a regular, even he might be counted considering his appearance in the next picture ("Creepshow").
Generally, I prefer Romero when he wanders from the living dead. His first two attempts are amazing and will remain legendary forever, but then it all went sharply downhill (and he seems unable to stop). But his other ventures -- "Creepshow", "Monkeyshines" and "Martin", for example -- are just as good or better but largely overlooked.
This one is even farther from his pattern, not really horror in any respect (a genre he has rarely strayed from). Although a bit long, and at times a bit confused (some plot elements seem thrown in for no real reason), it is a fun idea that has surprisingly not been turned into real life. Who would not want to see motorcycles with riders jousting?
Trying to find a "hero" in this film is hard to do. Obviously our protagonist is Billy (Harris), who has a strong belief system and leads his knights. Injury and risk of death is accepted by him, and each morning begins with a flogging (for reasons I must have missed). And yet, he may not be a hero because he follows his ideals too far. When the attorney / agent tells him that he must fund his ideals rather than let them die with him, that is sound advice. But Billy cannot see it.
Some credit should be given for addressing the issue of homosexuality. Through the lens of 2014, it might seem a bit silly the way the characters approach the issue. But in 1981, I imagine this was a bold move for a film that wanted a wide audience. What it had to do with the main plot is unclear (apparently nothing), but I am impressed that a romance was shown positively without being the butt of jokes.
We have many Romero regulars here in a type of film not generally associated with Romero: Christine Forrest, John Amplas, Tom Savini, Ken Foree, Michael Gornick, Scott Reiniger, Patricia Tallman. Although Ed Harris was not a regular, even he might be counted considering his appearance in the next picture ("Creepshow").
Generally, I prefer Romero when he wanders from the living dead. His first two attempts are amazing and will remain legendary forever, but then it all went sharply downhill (and he seems unable to stop). But his other ventures -- "Creepshow", "Monkeyshines" and "Martin", for example -- are just as good or better but largely overlooked.
This one is even farther from his pattern, not really horror in any respect (a genre he has rarely strayed from). Although a bit long, and at times a bit confused (some plot elements seem thrown in for no real reason), it is a fun idea that has surprisingly not been turned into real life. Who would not want to see motorcycles with riders jousting?
Trying to find a "hero" in this film is hard to do. Obviously our protagonist is Billy (Harris), who has a strong belief system and leads his knights. Injury and risk of death is accepted by him, and each morning begins with a flogging (for reasons I must have missed). And yet, he may not be a hero because he follows his ideals too far. When the attorney / agent tells him that he must fund his ideals rather than let them die with him, that is sound advice. But Billy cannot see it.
Some credit should be given for addressing the issue of homosexuality. Through the lens of 2014, it might seem a bit silly the way the characters approach the issue. But in 1981, I imagine this was a bold move for a film that wanted a wide audience. What it had to do with the main plot is unclear (apparently nothing), but I am impressed that a romance was shown positively without being the butt of jokes.