Film

Kull the Conqueror

Name: Kull the Conqueror
Genre: Fantasy, Adventure
Released: 1997
Cast: Kevin Sorbo, Tia Carrere, Karina Lombard, Thomas Ian Griffith, Litefoot

A 1997 sword-and-sorcery romp where Kevin Sorbo's barbarian Kull must fend off a resurrected witch queen intent on conquering his kingdom. It's campy, earnest, and gloriously uninterested in making sense—a film that knows exactly what it is and commits fully to the bit. For those who love '90s fantasy cheese and don't need apologizing to.

TMDb rating

2.5

Should you watch it?

Watch it if you enjoy sword-and-sorcery pulp with a swaggering, lo-fi B-movie energy, where a brawny hero, a scheming sorceress and cheap-looking monsters are part of the appeal.

Skip it if you want a polished, carefully paced epic; this one is brisk but creaky, with uneven effects and a plot that leans on familiar barbarian-king clichés rather than surprising you.

What it asks of you: Ninety-five minutes of straightforward action and campy swagger, asking little beyond a willingness to go along with its broad strokes and keep your expectations modest.

Not sure? Find tonight's pick in a minute.

If you liked this

Conan the Barbarian1982

Arnold Schwarzenegger swinging a sword through Hyborian dreams with practical gore, real stunts, and John Milius directing like it's Shakespearean tragedy. The template Kull lovingly imitates.

But It's violent and bleak in ways that feel genuinely mythic. If you want lighter fun, this earns its brutality.

Hercules: The Legendary Journeys1994

Kevin Sorbo in his actual element: syndicated fantasy-adventure where winks at the camera are part of the charm. Monster-of-the-week plotting, big emotions, and zero pretense about budget limitations.

But Six seasons. The special effects are very much of their era. Quality varies wildly depending on the episode.

Highlander II: The Quickening1991

Another '90s sword-wielding oddity that swings for the fences and lands somewhere gloriously weird. Sean Connery, time travel, and a plot that nobody fully understands but everyone remembers fondly.

But It's incoherent. The narrative doesn't withstand scrutiny. But that's rather the point.

Not sure tonight? Get a pick in a minute, starting from Kull the Conqueror

The wildcard

Something you would not have found on your own.

Army of Darkness1992

Both films mistake camp for depth, embrace it anyway, and emerge oddly charming. Both are driven by a lead actor committing with absolute seriousness to absurd circumstances.

Bruce Campbell's Ash dropped into medieval times with chainsaws and slapstick gore. It's comedy-horror-adventure that understands Kull's DNA—earnest sword-swinging mixed with winks to camera. Genuinely hilarious and gloriously messy.

But Heavily comedy-focused. The gore is cartoonish and graphic. If you want adventure without constant jokes, this undercuts tension constantly.

Red Sonja1985

Another Robert E. Howard adaptation with Brigitte Nielsen, Arnold Schwarzenegger, and total commitment to fantasy adventure excess. Practical costumes, real locations, and genuine effort spent on not much budget.

But The acting ranges from earnest to... not. The script is thin. It's dated in ways that require goodwill to overlook.

The Beastmaster1982

Marc Singer communicating with animals to fight evil sorcery. Practical effects, real creature work, and a genuine sense of wonder despite obvious low budget. Pure '80s fantasy escapism.

But Very slow in places. The plot is paper-thin. Special effects that now read as quaint rather than impressive.

Krull1983

A genuinely ambitious fantasy film that swings for the fences with a crazy plot, wild costumes, and James Horner's thunderous score. It fails in fascinating ways that make it more interesting than success.

But Narratively muddled. The tone lurches unpredictably. Effects haven't aged particularly well, and neither has some of the acting.

The Dark Crystal1982

Practical puppet work and creature design of staggering ambition. A dark, operatic fantasy that commits fully to its weird aesthetic. Visual storytelling that still astounds.

But Almost no plot to speak of. Very slow. The voice acting is sparse and the emotional beats rely entirely on puppetry.

Excalibur1981

John Boorman's Arthurian fever dream in glittering, saturated color. Overlapping dialogue, operatic violence, Patrick Stewart as Merlin. Genuinely visionary even when it's confusing.

But Deliberately cryptic. Long scenes of medieval pageantry. The dialogue is archaic and sometimes inaudible. Not everyone connects with its art-film energy.

Willow1988

Ron Howard channeling fantasy adventure with real charm, practical effects, and Warwick Davis in the lead. Light without being flippant, earnest without being heavy. Good storytelling, strong cast, genuine fun.

But Quite family-friendly, which might feel thin if you're after darker stakes. The plot follows fairly obvious beats. Some effects haven't aged perfectly well.

The NeverEnding Story1984

Both resurrect evil sorceresses as their central conflict. Both blend practical creature work with earnest fantasy plotting. But Neverending Story actually earns its emotional register.

A German fantasy epic with a witch-queen, resurrection, creatures, and stakes that feel genuinely mythic. Practical effects, a haunting score, and real emotional weight beneath the adventure. It's what Kull dreams of being.

But Paced very deliberately. The narrative is sprawling. It's aimed at children but refuses to condescend, which can feel slow to an adult waiting for plot momentum.

The Lair of the White Worm1988

Female evil incarnate (a witch queen resurrected to reclaim power) drives the narrative in both. Lair takes that premise seriously and surreal; Kull plays it straight and campy. They're opposite sides of the same coin.

Ken Russell's delirious adaptation of Bram Stoker about a snake-cult witch queen. Surreal, transgressive, visually extraordinary—camp as high art. Amanda Donohoe as absolute commitment to theatrical evil. Nothing quite like it.

But Sexually explicit and deeply weird. Nearly incomprehensible plot. Not a film for audiences seeking coherence or comfort. Ken Russell at peak difficulty.