(In French, On Cable TV, April 2018) What the heck is this?! Krull has to be seen to be believed. I don’t think it could have existed at any other time but 1983, bathing in an unholy stew of Star Wars and Conan references, before everyone woke up and realized how bad of an idea it was. An incoherent, possibly insane blend of science-fantasy, Krull goes through the motion of creating an iconography without first making sure that it has some substance. As a result, the script feels as if it’s been thrown in a blender and half the sequences improvised on the spot. The special effects go everywhere and do everything, tearing apart the flimsy story underneath. The cherry on the sundae is seeing Liam Neeson in one of his earliest roles as a bandit—Neeson looked old and physically imposing even in his twenties. Reading about the complicated, almost disastrous production of the film reminds us of everything that’s wrong about big-budget movies cashing on sudden trends—aimless direction, outclassed filmmakers, incoherent production and no central vision resulting in everything being thrown on-screen. To be fair, Krull being bad doesn’t mean that Krull isn’t entertaining—the amount of work and insanity required to complete the project can be felt even three decades and a half later, making it curiously compelling to watch if only to see what else will come up to exceed the previous scene’s inanity. We don’t always watch movies because they’re good. Sometimes, we watch them because there’s nothing else quite like it.