There are three main films concerning the myth of Beowulf. The best, a wickedly good Robert Zemeckis motion capture version starring Ray Winstone, a lower budget one with Gerard Butler that hovers right around the average mark, and a third one starring Christopher ‘Highlander’ Lambert, and let me tell you this one defies any classification. It’s set in a time that seems like a blend between both past and future, a sword and sorcery realm that’s speckled with steam punk technology and very weird production design that looks post modern, yet not. Beowulf, played by the reliably daffy Lambert (an actor of little talent who has grown on me over the years by his craggy reserve alone), is a lone warrior with a bleach blond hair dye job and some neato gadgetry in his weapon arsenal. I know, it sounds like I’m making this up. Haven’t even gotten to the best part yet, which is the upbeat German techno score that ramps up the Euro feel of the whole thing to soaring heights of absurdity. Despite all that silliness, the film somehow works, and not just as a schlocky write off either. It’s resolve lies dutifully in the firmament of its creative aesthetic, and doesn’t skip a single odd duck of a beat the whole way. The monster Grendel which Beowulf must face off against resembles something of a cross between the Predator and Killer Croc, a scaly, spiky behemoth that rips through the little villages in the region like a tornado of teeth and claws. It’s mother is even weirder: appearing to men in the form of actress Layla Roberts, (who looks suspiciously like a porn star) before morphing into a massive elaborate demon thingy that looks like a final boss from Starfox. Lambert is joined in his fight by sexy warrior Kyra (Rhona Mitra), and led on by King Hrothgar (Oliver Cotton). It’s Beowulf like you’ve never seen before, a Krull esque, beyond the Stars sci-fi rendition that you’ll either be in tune with or won’t, either love, hate or just be super confused by. It’s bonkers, and I love it.