User reviews

The Emperor Ming (Max von Sydow) is attacking the Earth. Only former NASA scientist Dr. Hans Zarkov (Topol) seems to have foreseen it. He intends to launch himself in his rocket as a 'counter-attack'. NY Jets star quarterback Flash Gordon (Sam J. Jones) is taking a commuter flight. He survives the plane crash along with fellow passenger Dale Arden (Melody Anderson). Zarkov tricks the duo into his rocket and launches them into space. They are taken prisoner to find Ming's tyrannical rule over the various kingdoms. Prince Barin (Timothy Dalton) leads the kingdom of Arboria. Hawkman Prince Vultan (Brian Blessed) runs Sky City. Ming's daughter Princess Aura (Ornella Muti) is fascinated with Flash. Ming takes Dale as his concubine.

This is brilliantly colorful and deliciously campy. The Queen soundtrack is second to none. The acting is big but it fits the style. Parts of it goes a bit too slowly. Some scenes are very static. Even the actors move slowly as an old-fashion way to denote drama. Sometimes it needs more energy to maintain the tension. This is an unique vision and a fun watch if you don't take it seriously.

Yes, the plot is silly, yes the dialogue is cheesy and yes, some of the special effects are badly done, but nonetheless it is great fun. Like Rocky Horror Picture Show, Congo and Jingle All the Way, Flash Gordon is a sort of guilty pleasure of mine. The costumes are quite extravagant and the sets are exotic. Then you have an irresistibly killer soundtrack from Queen, who also brought us the classics We Will Rock You and Bohemian Rhapsody. The direction is pretty good and the acting is surprisingly great. Sam J Jones is bad with his cheesiness but he was fun besides, thank goodness he wasn't bland like Justin Whalin from Dungeons and Dungeons, and Melody Anderson is charming and alluring as Dale. Brian Blessed is very hammy as Vultran but he is great fun regardless and Topol, who was so superb in Fiddler on the Roof, is memorable as Dr Hans Zarkov. And while Ornella Muti is a wonderfully witty and sexy Princess Aura, it is Max Von Sydow who walks away with the picture, pantomime of course but sinister as well and I appreciated that. Overall, not perfect and camp personified, but very enjoyable. 7/10 Bethany Cox

American football star Flash Gordon (Sam Jones), scientist Hans Zarkov (Topol), and pretty estate agent Dale Arden (Melody Anderson) are blasted to the farthest reaches of space to fight Ming the Merciless (Max Von Sydow), the tyrannical ruler of Mongo, who has been subjecting The Earth to a series of violent attacks in the form of freak weather conditions and terrible catastrophes.

Featuring blond pretty boy Sam Jones in the title role, some of the most garish costumes in the history of cinema, cheesy dialogue galore, a catchy pop/rock soundtrack by Queen, poorly constructed props (and a few rather suggestive looking ones), marvellously hammy performances from a fine collection of cult character actors (including Department S's Richard Wyngarde, Rocky Horror's Richard O'Brien and good old Brian Blessed), and spectacularly ropey special effects (all wires clearly visible), Flash Gordon is quite possibly the most gleefully daft, over-the-top, knowingly tacky, and outrageously flamboyant sci-fi film ever made.

Don't be put off by the fact that the film is perfect for a themed night at the local gay bar, though—Flash Gordon might be camper than a row of tents, as the saying goes, but there really is something for everyone but the most joyless of movie pedants: we get fantastical floating worlds that predate those in Avatar by three decades, there's pet dwarfs, crazy laser battles, a whip-wielding dominatrix, assorted sexy bints in skimpy outfits, and even a little 'gore' (both Ming and his henchman Klytus meet nasty fates)—PLUS for every shot of our hero in a tight T-shirt or leather hot-pants, we get several of the gorgeous Ornella Muti (as Ming's sultry daughter Princess Aura) in her figure hugging red catsuit, easily rivalling Buck Rogers' Erin Gray in the sexy Spandex stakes. Melody Anderson as Dale isn't exactly ugly either, and also gets to wear some very revealing get-ups.

Hell, even Blue Peter fans are catered for, with '80s presenter Peter Duncan appearing as a tree dweller whose hand is attacked by a slimy vacuum cleaner bag with a poisonous sting in its tail. Now that's what I call entertainment!

In 1980, science fiction was undergoing a revival of sorts. Some would argue that it is unfortunate that the science fiction appearing on the big screens of the time were more action-oriented than dramatic in nature. Flash Gordon came at a time when audiences were being trained to expect more and more from their films, with budgets skyrocketing and effects becoming progressively more important than the story. It is therefore somewhat disheartening to see reviewers focusing on how camp or low-fi they perceive it to be. Camp, low-budget, low-fi it is, but it has something that Episode 2 of Star Wars in particular didn't. Namely, it has the ingredients of a rollicking good time. From the awesome soundtrack by Queen to the near-ridiculous action sequences, Flash Gordon is almost the last hurrah in an era where filmmakers were expected to spend at least as much time on script and dialogue as they do eye candy. What makes it all the more interesting is that beyond the basic setup, there almost is no story to speak of.

Beginning with a POV shot from some distant planet, we see how the world we take for granted is suddenly subjected to all sorts of destructive weather patterns by its Emperor. Emperor Ming has decided to shift the orbit of the moon in order to make it collide with Earth, leaving a handful of days before all life on the planet is destroyed. Not one to take this kind of thing lying down, a scientist by the name of Hans Zarkov is busily building a rocket so that he might go to the source of the attacks and reason with them. Coincidentally, a plane carrying football star Flash Gordon and some girl called Dale Arden crash into Zarkov's lab. Tricking them into boarding his rocket, Zarkov takes them on a brief trip to a world so barren one wonders where they find the liquid to sustain themselves. Taken captive and escorted to the Emperor, our heroes bear witness to a society in which Lords of several moons pay tribute to said Emperor. With their lives, if need be. The real fun begins when Ming takes an interest in Dale.

Interest is putting it mildly. In a classic script oversight, Ming decides within a moment of first seeing her that he wants Dale to do with as he will. Flash is naturally not one to take such things lying down, so he begins attacking Ming's guards with a series of offensive football-style strikes. This gets the attention of several Lords who have been awaiting the right moment to overthrow Ming, but the fight is lost before it has begun, for obvious reasons. Overpowered, Flash is sentenced to execution, and thus the first of many bondage-like outfits is seen. I am not one to cry out "gay" when I see two men express a powerful bond, but several people I have watched the film with now agree that Flash Gordon has one of the biggest gay, or S&M, themes going in 1980s film. Not that this is particularly important, but the amount of leather underwear and tights on display would have made the Village People blush. Of course, this is all just one adult subtext that will go right over the head of the children in the audience.

One commendable feature of Flash Gordon is the death scenes. Aiming a film at children and dispatching characters in a violent fashion is always a tricky business. This adaptation gets around the issue by showing the alien creatures melting after they are killed. The manner in which this is filmed would probably get Flash Gordon a more restrictive rating if it were released for the first time today. It reminds me in part of a description in Repo Man. Eyes, skin, even bones melt in a manner that tells us how alien the villains are in a way that all the prosthetics in the world cannot. Roger Ebert was right on the money when he wrote that Flash Gordon "is cheerfully willing to look as phony as it is". That he didn't mean it as a criticism shows that he got what the film was about. During action sequences, it assaults the senses and almost bullies the viewer into forgetting that what they are seeing is anything but real. During extended moments of dialogue, it flat out orders you to not take it seriously.

Making it all the funnier is that producer Dino De Laurentiis, that famed bankrupt-wannabe, thought the whole story was serious. As director Mike Hodges phrased it, anyone who watches the film will find that factoid "rather curious". Sam Jones is absolutely terrible as the titular hero, and yet it works because a certain idiocy is what the character requires. Really, the whole thing reeks of being rushed into production, and then rushed to theatre screens, which probably sealed its financial doom. Hodges apparently had to work with a crew whose language he did not speak, with a script that wasn't finished, and no storyboards to boot. Having seen the finished product on DVD after all these years, I have to confess that my respect for Hodges has gone right through the roof in light of this. Forget Flash - Hodges is the one who can rightfully claim to be king of the impossible. Anyway, when all is said and done, Flash Gordon is representative of the direction cinema might well have been better off taking.

For these reasons and more, I gave Flash Gordon circa 1980 a seven out of ten. Excitement and adventure always beat a big budget, as this film proves.

Geez, I think my title summed up everything that needs to be said. "Flash Gordon" has all the sci-fi and action as "Star Wars" but blended with an unapologetic campiness and comic bookishness like the iconic 60s Batman series. Throw into the mix, um, QUEEN doing the soundtrack, and you've got yourself an experience that will never happen again.

You might be thinking the blend I just described is as ill-advised as putting pineapple on pizza (seriously does anyone really like that?), but actually the blend is perfect if we take a quick look at the decade that this film wraps up, the 70s. The 70s was the decade of the rock opera: The Who's "Tommy", the doo-wopper "Grease", Motown's "The Wiz", the punkish "Rocky Horror" and bunches of others that swept the box office. While "Flash Gordon" isn't a musical, as defined by characters breaking out into song & dance, the vibe of the movie spells rock opera with a capital Rock. In plain terms this means a very tongue-in-cheek, over-the-top, theatrical and colorful spectacle that is not to be taken as a straightforward drama. If you can grasp that concept, I guarantee you'll love this flick.

The plot? Who cares. Something about saving the universe, I'm sure. But it doesn't matter because, like a good roller coaster ride, or like a good adventurous vacation, we don't care how it's mapped out. We just get a thrill out of each individual twist & turn, each scene, each surprise, and all the while we're taking mental notes of all the horribly awesome lines we can quote to our friends and annoy them for months afterwards.

A serious note about the acting. This production drew the talents of some of the finest actors of stage & screen, and for them to be able to play such campy characters is a testament to their true expertise. I'm talking dramatic & Shakespearean legends like Brian Blessed, Max von Sydow, Timothy Dalton, not to mention the incomparable personality of Topol (Fiddler on the Roof) and the show-stealing, sexually repressed Ornella Muti as the Emperor's daughter--whose mere presence would've kicked the MPAA rating from PG to PG-13 if that designation had existed back then. Even if you don't recognize any of these people, you'll find each one of them to be unforgettable.

"Flash Gordon" is a film that has no equal. You could say it's a distant cousin to 1968's "Barbarella" (another wtf experience that shouldn't be missed), but really it's beyond compare. So hurry up and see this movie ...you only have 14 hours to save the earth!

No other film is like this one, as Sam J. Jones plays the title character, based on the famous comic strip and early Saturday morning serials with Buster Crabbe. Max Von Sydow is the evil Ming the Merciless, ruler of Mongo, who is trying to destroy Earth because he is bored. Melody Anderson is Dale Arden, in love with Flash and coveted by Ming. Topol is Dr. Hans Zarkhov, whose rocket ship took the three of them to Mongo in the first place. Brian Blessed is extremely enthusiastic as Prince Vultan, Pre-James Bond Timothy Dalton is quite serious as Prince Barin, rival of Vultan, and in love with Ming's ultra sensuous daughter Princess Aura(Ornella Muti) All will converge in the exciting finale where Flash must save the day.

Crazy film is nonetheless great fun, no point in taking this seriously, since everything about it is intentionally over the top, punctuated by a soaring score and incredible sets and costumes. Not to be over thought or have all kinds of subtext in it, just sit back and enjoy!

A blonde, whip-wielding man in red PVC hotpants. A sultry brunette temptresses in a (red PVC) catsuit. A dastardly skullcapped villain with a penchant for S'n'M. A horny, malevolent robot-man called Klytus (a cross between coitus and clitoris?) with a penchant for young ladies. A phallic war rocket Ajax looking like a model 747 decked out with spikes and fins. No: this isn't a 1990s porn extravaganza; this is Flash Gordon – the early 80s camp comic classic.

What a film! Sorry, I mean what a film? It's impossible to convey the qualities of this film in a short review. Indeed, I'm not entirely sure I understand on what level (or planet) this film works. Mainly I think it works because everyone is having such fun, from the gloriously camp Max Von Sydow (my all time hero) to Queen (who seem not so much responsible for the soundtrack as the spiritual progenitors for the film itself).

I should mention that I have fond memories of this film from childhood. I remember sneaking downstairs to watch it late at night aged about 8. From that moment, my childhood fantasies usually came (so to speak) in the form of Princess Aura (Ornella Muti and the now famous red catsuit). I should also point out that the film has very few other obvious things (apart from exuberance) going for it. It is possibly one of the daftest films ever made, only slightly redeemed by the fact that it doesn't take itself seriously – note the Houdini reference and the casting of Blue Peter presenter Peter Duncan as proof of this, not that you'll need any proof after five minutes of watching it. Indeed, the only ones who don't seem to be enjoying themselves are the humourless Timothy Dalton and the limp-wristed, wet as a haddock Melody Anderson proving once and for all that rampant Euro totty spank the ass (so to speak) of all American girls.

Anyway, I digress. Flash Gordon is essentially a pantomime with an all-star cast (for Max Von Sydow as Ming the Merciless, think Sir Ian McKellem as Widow Twanky). Viewed objectively it's a moderately, if not abjectly awful film. If you just unhook your critical consciousness for 90 minutes you are sure to be rewarded by a high camp, high-energy slice of high grade Camembert. And Mistress Muti – she's still a kind of magic! 5/10

Flash Gordon is one of the most perfectly realized films De Laurentiis made, and it is disappointing that so few have recognized it for what it is; a 1930's comic strip brought perfectly to life. The fact that it is so accurate a realization of America's hopes and fears during the 1930's may help to explain why it has been dismissed so readily as, at best, mere camp, and at worst, a vulgar cinematic catastrophe: Today's audiences are too removed from that decade to catch the references. A classic example of America's view of Asia during the 1930's can be found in Dale Arden's confrontation with Princess Aura just prior to her wedding to Ming. Aura is trying to convince Dale to slip a poison into Ming's "Power Potion" but Dale tells Aura she can't because she's given Ming her word to "try to be a good wife if [Ming] would spare Zarkov and Baron. He vowed he would." Aura, shocked at her naiveté, shouts, "My father has never kept a vow in his life!" To which Dale responds, "I can't help that Aura. Keeping our word is one of the things that make us better than you." Flash Gordon is filled with this type of wonderful 1930's fun, and this fun is only enhanced by the decision to use bad actors in roles that would only benefit from the lack of skill, as well as Oscar-caliber actors in the most demanding roles. Max Von Sydow is an obvious example of the latter, but the hidden gems come in the form of Mariangela Melato, Brian Blessed, and Ornella Muti. Melato does an outstanding job as Klytus's reptilian, but beautiful, second in command when she flawlessly delivers lines like, "Confess, and we won't hurt you anymore.

We don't like doing this at all!" And Ornella Muti is simply unbelievable as Ming's gorgeous but deadly daughter. Replying to Flash's query as to whether he can use the telepathy machine to contact Dale with a perfectly candid, "If I showed you how. But I'm not going to." Add to these amazing actors the costumes and sets that are obvious homages to the original comic's drawings and you have a movie that is as surprising as it is delightful. Enjoy!

Some childhood obsessions stay with you for life, and Flash would have to be one of them. In fact, Flash Gordon, Star Wars, and Battlestar Galactica began a lifelong obsession with science fiction and fantasy in all of its good (and especially) bad forms. The above summary isn't really accurate; 20 years don't make a difference to how much I like this film, but they have changed my reasons for liking it. With hindsight, I've discovered exactly who Lorenzo Semple Jr. is, and now, fully understanding the camp elements of this film, I can still enjoy it, but on a completely new level. As for complaints about the acting of Sam Jones (who did much worse in the abysmal firefighter series Code Red) and Melody Anderson, you hire actors for what they can do, not what they can't. This is why Keanu Reeves was perfect for The Matrix, and why Arnold Schwarzenegger was perfect for The Terminator. Jones and Anderson serve the same purpose for Semple as Adam West and Burt Ward did in the Batman series; who better than someone sadly lacking in acting skills to deliver a completely ludicrous line with a straight face? Unless your name is Charlton Heston, experienced actors have a difficult time with it. Anyways, I digress. The things that first attracted me to this film still do it for me, and that would be the production values and special effects, not to mention the great soundtrack by Queen (I actually had a friend consider using Brian May's arrangement of the Wedding March at his wedding; his mother, of course, ixnayed it). This is still a great looking movie, even by today's standards, which makes me wonder if DeLaurentiis was in on the joke the whole time. All in all, a lot of fun, unless you get offended by less than faithful revisions, in which case I have to wonder about your upbringing.

This a definitely one of my guilty pleasure movies. You know, the movies you secretly love to watch but would be too embarrassed to tell your friends about. People think this is a dumb movie and it really is. But it is not trying to be Schindler's List here. DeLaurentis was unabashedly paying homage to the Flash Gordon of the 40's and he succeeded wonderfully. The costumes, the spaceships, the characters are all strictly in keeping with the golden age of Sci-Fi. So sit back, check your mind at the door, and look back on what kids must have felt watching the original Flash Gordon.

A football player is tricked to travel the planet Mongo and finds himself forging friendships while fighting a tyrant, Ming the Merciless, to save Earth.

Lacking the production values and execution of the comparable Star Wars, Flash Gordon retains its comic-strip and Saturday morning matinée serial feel, possibly thanks to a troubled production and Lorenzo Semple Jr. screenplay.

Peter Wyngarde plays masked villain Klytus elegantly creepy (possibly and inspiration for He-Man's Skeletor) and with Mariangela Melato Kala's (oddly He-Man borrows another character this time Evil-Lynn) leads the assault while The Emperor Ming played subtly by  Max von Sydow takes a back seat. It's this distance between the protagonist and antagonist that hampers the film but on the other hand it's works to its credit allowing an array of colourful characters to line the screen including Brian Blessed as Prince Vultan who's delivers a barrage of classic lines while Timothy Dalton to graces the screen as dashing Errol Flynn alike Prince Barin.

Flash's love interest Dale Arden is played by Melody Anderson Dale is the perfect 1950's style every day New Yorker. Flash lacks Charisma, history may have been different should Kurt Russell had committed.  Either way Sam J. Jones Flash Gordon does the job. There's tones of familiar faces including UK's Richard O'Brien, Robbie Coltrane and Blue Peter's Peter Duncan. Sultry Ornella Muti is perfect as Ming's daughter Princess Aura nevertheless there's no doubt Topol steals every scene as unhinged science 'genius'  Dr. Hans Zarkov.

While characters arcs change pacer than Queen's memorable pumping and notable soundtrack amongst themes of forging friendships, suicide, death, sacrifice and resurrection to name a few there's spaceships, poisonous creatures, red-clad guards and enough sequins to start a cabaret show all the things you'd expect from a science fiction.  Beneath the bright and lustre costumes there's a dark and rebel subtext. 

Director Mike Hodges gives us many stand out scenes including a battle to the death on a remote control tilting platform with retractable spikes, an American football inspired fight, a space shuttle assault, gooey spider-monster and girls cat fight. There's also some nice touches during Zarkov and prince escape that stay in the mind.  The effects are a mixed bag with projection and composites heavy utilised, again it gives it's that hammy serial feel but hampers Flash's longevity as a rounded work of art. Even so it packs in so many memorable characters, lines and moments that it retains a must seem charm.

Flash Gordon is flawed as much as the actor title role, it never fully explores the characters, yet, it's well defined and still is a lot of fun. Gordon's alive!

Colorful, silly fun, at times campy, Mike Hodges's 1980 "Flash Gordon" is among those movies that are less than the sum of their parts. Made on shoe-string budgets with C-picture performers and crew for young undemanding viewers, the original 1930's Flash Gordon serials are unintentionally funny to adults today. To recapture the innocence and naivete of those movies with a big budget and trained actors is a difficult task, although Hodges's "Flash Gordon" makes a decent attempt. Lorenzo Semple's screenplay tracks the original serials fairly well; Flash and Dale Arden are taken aboard Doctor Hans Zarkov's spacecraft and flown to the planet Mongo, where they battle Emperor Ming the Merciless to save the Earth. Semple's script has enough classic bad dialog to satisfy seekers of camp; "I love you Flash, but we only have 14 hours to save the Earth." However, the difference between Semple's script and the original series is that Semple knew he was writing bad dialog, while the writers of the serial were unintentionally hilarious.

That difference in intention also applies to the actors; Buster Crabbe and company played the serials dead-pan straight, and those in the remake who play their parts equally straight come off best. The under-demanding role of Flash requires the skills of a Razzie Award Winning thespian, and, Sam J. Jones won a Razzie nomination for his work herein. Although not a super hero in the modern sense, the blonde hunk, who sports nothing but leather trunks in one scene, physically fills the role, and Jones manages to deliver his lines with a convincing lack of conviction as the dim, but well meaning Flash. However, the movie's scene-stealer is Max Von Sydow as Ming the Merciless; appropriately garbed and made-up as the evil emperor, Von Sydow plays the role with majesty and menace, which is all the more fun. Unfortunately, Topol as Doctor Zarkov, does not follow Von Sydow's example and winks and smiles as the mad scientist, telegraphing to viewers that he is in on the joke. But Brian Blessed as the winged Prince Vultan, Timothy Dalton as Prince Barin, and, especially, the delicious Peter Wyngarde as Klytus deliver their lines as though penned by the Bard himself. Although Mariangela Melato is a memorable Kala, Melody Anderson as Dale Arden should have been in the running for a Razzie alongside Jones, which is intended as a compliment.

Besides Von Sydow, the film's other scene-stealer is designer Danilo Donati, who provided the lavish Fellini-esque costumes and sets. While Donati's work tends to emphasize red and gold, which may not be to everyone's taste, his outlandish designs are as entertaining as anything on display and certainly light years beyond those of the 1930's serials. If Donati or another anonymous designer created the Art-Deco spaceships, he or she too deserves kudos as do the creators of the appropriately tacky and obvious special effects, which beautifully evoke the primitive work of the 1930's serials. As contemporary and important as the art direction is the pulsating score by Queen that punctuates the action and enhances the excitement. While "Flash Gordon" is not the high camp perhaps intended, the film has a cult following and enough outstanding attributes to satisfy main-stream audiences. Led by Max Von Sydow's iconic Ming the Merciless, Queen's pounding music, and Danilo Donati's dazzling designs, "Flash Gordon" may not be to everybody's taste, but should be savored by all at least once, just for the sheer fun of it all.

Yes, Flash Gordon is campy, and chessy, and trashy...it may be a lot of things, but most importantly, it is fun. You have to take in consideration what the movie tries to be: a homage of the original 1930's comic strips. And while I haven't read them, I totally get the vibe and I know it succeeds wonderfully. Knowing that, I can't really criticize the cardboard characters, the stupid premise, the hilarious effects..because that's the only approach a movie like this should have. Flash Gordon is the most innocent and likable hero ever, and an unrecognizable Max von Sydow gives a terrific performance as Ming the Merciless; everyone else is pretty much terrible, but they were having fun, and that's what it matters to me. I have to also praise the soundtrack, made by no other but Queen. Can you think of a more appropiate band for a job like this? Queen itself it's campy and self-aware, that's why their music fits so perfectly with the film. Flash theme is even more memorable than most of their songs from the 80's and 90's. I have to admit that the movie don't always overcome it's silliness and that the pacing suffers a lot throught, those being my only real complaints. Flash Gordon is far from being perfect, but it has a lot of heart, and I can't help but love it.

In the 80s, De Laurentis made vibrant, adventurous movies.

Despite a "B Movie" feel, the production values are high throughout 111 minutes of retro-driven, sci-fi packed entertainment, complimented by a rocking soundtrack delivered by chart-topping superband: Queen.

You can either dismiss Flash as juvenile eye-candy, or marvel in its over-the-top glory. Revisiting the movie, I tend towards the latter. The costumes look gorgeous, the settings have a dream-like atmosphere. The production team go that extra mile to emulate the colorful, original comic books, too.

Often criticized for hammy acting: I'll mention Topol, Timothy Dalton and ravishing Ornella Muti who do their best to transform Flash into a classy, trashy tour de force. I think they succeed.

Some people aren't too fond of this version; it failed at the box office and many fans hate the camp, which, for me, works in this case. Unlike the Christopher Reeves SUPERMAN and others, the camp makes fun of the heroes, and not the villains (some of us like to take our villains seriously, and do not like them to made to look silly, thank you very much).

The filmmakers were obviously aware of, and aimed to incorporate, everything attached to Flash Gordon---from Raymond's comic strip, to the old Universal serials, to the semi-pornographic parody "Flesh Gordon," to even the post-STAR WARS mythology that audiences in the eighties would expect. Surprisingly, for such a diverse melange, it actually works.

Unlike the other space movies of the time, this film emphasized sets and costumes rather than visual effects, and as a result its overall look dates less than many spaceoperas of the late seventies/early eighties. For those who dismiss it--and there are many--be aware that there are also many of us who love it and have re-watched more than you. It's deligtfully rewatchable and nowadays is an indisputable example of what is termed a cult film.

Director Mike Hodges directed the ultra bleak Brit classic GET CARTER so he seems a very strange choice to direct a big budget fantasy movie , and long before the final credits you do realise that he's almost a bad choice as director , I mean look at the two leads playing Flash and Dale . Is it any surprise that they didn't star in anymore movies that anyone has heard of ? I should also point out that Brian Blessed reverts to his typecast role of being a large shouting man with a beard while Prince Barin is a Welshman who challenges a BLUE PETER presenter to find a muddy balloon in a tree trunk and shouts dialogue like " FREEZE YOU BLUDDY BESTUDS " in a ridiculous manner

That's why I said Hodges " is almost a bad choice as director " and not Hodges " is a bad choice as director " because his unfamiliarity of the subject matter works in the audiences favour though perhaps not the director's . Just how much less enjoyable would this movie have been if it wasn't for the loud acting , the garish colour contrasts , the not very convincing special effects ? Agreed it's total rubbish but it's also totally entertaining rubbish enhanced by its very intrusive score by Queen . Dum dum dum dum dum Flash aargh saviour of the universe

I'm sorry, but I just don't get the joke behind the popularity of this film. I can concede that camp has its rightful place in cinema history. I know all about Ed Wood and Plan 9 and Roger Corman, ad infinitum. But this is a movie that is so splashy and gaudy and wooden that I couldn't believe I had let my friends talk me into seeing it. Were the filmmakers really trying to make this a serious movie? With a soundtrack by Queen??? Are you kidding me? And the visual effects...I've seen better FX in "The Absent-Minded Professor." Every time I saw Topol get excited I wanted him to break into song. ("Why is Ming trying to conquer the earth? I don't know...but it's TRADITION!")

I should rightfully say that I do enjoy some camp. "Dune" is my favorite bad movie of all time, and it is truly awful. But "Flash Gordon" makes "Dune" look like "The Empire Strikes Back."

I loved this movie when i was about seven, and I enjoy it even more on the same childish level today. This is a movie that doesnt ask you to suspend belief or insult your intelligence, because it is so blatantly make believe right up front. I truly believe that the makers of this movie set out to make an over the top hammy piece of cinema. I dont think anyone can argue that, in that respect, they succeeded. I admit that Sam J. Jones is a terrible actor (even dubbed) but it lends it self nicely to the fact that flash just isnt that bright. And whether intentional or not, the bad acting in this film just helps it pull off the cheesiness to perfection. No movie with lines such as "I love you! But we only have fourteen hours left to save the earth!" could be considered a serious dramatic entity. Frankly I find the approach that this movie takes to be refreshing, especialy when compared with some ridiculously plotted movies, that while good in their own right, insult our inteligence by taking themselves seriously (Lord of the Rings, Star Wars, etc). My advise to anyone watching this movie is to not expect Gone With the Wind or Casablanca. Just have fun! And dont hold the absurdity and cheesiness of this movie against it, because its intentional, and done beautifuly!