Lucio Fulci: hack or genius? An argument that almost always veers into this extreme either/or proposition. His fans are a rabid, vocal group who trumpet his overlooked artistry, while his detractors are quick to write off his work as complete trash. Fulci is actually somewhere more in the middle. While even his best films contain serious story flaws, there's no denying his talent for creating dynamic set pieces and a consistently eerie tone. His most revered and commercially successful titles were horror films; several achieving strong distribution here in the US. His supporters, and he has many, are quick to point out his eye for strong composition and bold, fluid shots. These attributes, however, are wildly inconsistent and are only present in a handful of his films. If one were to dig a little deeper, it would seem that Fulci was only as good as his cinematographer. Case in point: all of his most beloved films "Zombi," "City of the Living Dead" (a.k.a. "The Gates of Hell)", "The Beyond" and "House by the Cemetery" were shot by cinematographer Sergio Salvati. His participation had as much (if not more) to do with their success as Fulci's. The two collaborated several times before their breakthrough hit "Zombi," most notably on the lyrical, understated "The Psychic" with Jennifer Neal. But after "Cemetery" in '81, the two parted ways. Salvati went on to shoot several horror films in the states, including a few for Charles Band's Empire Pictures. Fulci, meanwhile, continued to crank out largely forgettable horror and exploitation films with several different cinematographers until his death in '96.

"Conquest" was Fulci's first and only attempt at an epic sword and sorcery tale. A subgenre that was briefly popular after the modest success of "Conan." Though short-lived, it was responsible for a consistently lousy string of exploitation films. In fact, the sword and sorcery pics from the early 80's are by far the most tedious from that era's exploitation cannon. While the teen sex farces, post apocalyptic potboilers, cannibalistic zombies and the last of the slasher films filled the grind houses and drive-ins with mostly forgettable fare... the would-be "Conan's" proved to be the most unpleasant and trifling. With the exception on Coscarelli's "Beastmaster" and Pyun's "The Sword and the Sorcerer," low-budget fantasy films were an irritating and ugly lot. Part of the problem was that the genre was ill suited for low-budget productions. Films such as "Conan" and "Excaliber" demanded elaborate sets, costumes and special effects Ð things that micro-budgets simply couldn't allow for. Randy teens trying to get laid or even post apocalyptic desert wars were scenarios that were perfect for 5 dollar films. But epic adventures? Well, it didn't stop them from trying...

As bad as many of them are, "Conquest" is probably one of the very worst. Even terrible programmers like "Ator" and "Hercules" (the one with Lou Ferrigno) had a kind of pulpy charm to them. There's precious little joy to be found in this 93 minute "epic," which inexplicably received a limited US release in '83. The film's script is credited to three people: Gino Capone, Jose Antonio de la Loma and Carlos Vasallo. An astronomical figure when you consider that "Conquest" is a film that is virtually plotless.

The set-up introduces young protagonist Ilias (Andrea Occhipinti), who is ceremoniously given a magic bow by a wise old man. He's told to go out into the world and... basically not run from trouble. Why he's sent away, well, that's a little muddy. But he leaves and early on during his vague, purposeless travels he saves a crusty maiden from snake attack. Soon after he meets up with muscled loner Mace (top-billed Jorge Rivero) and the two have a series of "adventures." Because this is a low-budget film, (an extraordinarily low-budgeted film even for Fulci), the adventures are more like episodic encounters with badly costumed extras. An antagonist is introduced in the form of Ocron (Sabrina Siani), a sorceress of sorts, who cavorts with snakes, wears a shiny mask/headpiece and, of course, only appears topless. She rules over a cadre of Chewbacca-like wolf people and hulking guards who rape and pillage. Ocron is haunted by a recurring nightmare where a faceless warrior shoots her in the heart with an arrow. Could it be our young hero Ilias? The same warrior who escaped capture of the Chewbacca-like wolf soldiers early on? The one with the groovy bow? Is there plot on the way?

Generally in films such as this, the hero is on some kind of quest or driven by revenge. Aside from the series of poorly orchestrated fights with... rock people, zombies (this is a Fulci film), mole people, cave people etc., there is no quest - and revenge figures in only at the very end of the movie because, well, something has to happen. A key element in the nonsensical nature of this film is the "magical" bow bestowed upon our hero early on. We know that it is charmed because it awkwardly levitates through the air and into its owners waiting hand. But throughout much of the film, it behaves pretty much like any other standard bow: arrow in, pull string, shoot. However, towards the end of our heroic journey it suddenly begins to exhibit exciting new powers. Great Zeus! It now glows and can release hundreds of blue laser-like arrows that easily defeat the tens of extras. Why this amazing feature was at first unknown to our hero(s) is a mystery. How it was suddenly figured out and quickly utilized is also a little puzzling. No worries though, the bright blue colors gave the sleepy critic the needed zip to make it all the way through to the incongruous end.

While it's not exactly newsworthy to report that a Fulci film has story and structure problems, as stated before this is perhaps his ugliest exploitation outing. Cinematographer Alejandro Ulloa has shot "Conquest" through a filtered lens that does little to accentuate the beautiful scenery. Ulloa also insists on framing the actors either directly in front of, or directly beside, the sun. A composition choice that grows tired after the third (poorly captured) try; something he repeats dozens of times in this film. There is no attempt to try and tell what little story there is within the frame... Ulloa's maddening close-ups and lazy, wandering eye barely keep up with the actors. There are no sets to speak of (save for Ocron's cave interior) so the various mountains, shorelines and desert terrain are "Conquest's" only assets. A strong cameraman (say, someone like Salvati) might have made the proceedings a tad more intriguing. It's difficult to make such vistas boring; Ulloa succeeds in spades.

Blue Underground presents "Conquest" in 1:85:1 widescreen and 2.0 Dolby Digital. The picture presentation seems accurate and artifacts are few. For what it's worth, this is the first time this film has been seen uncut and in its proper aspect ratio since its European theatrical release. Typical Fulci violence (much of it cut for the US market) is smattered about, though fans expecting a bloodbath will be disappointed. The better-than-necessary (though inappropriate) score by Claudio Simonetti of Goblin fame comes in loud and clear. Extras include two theatrical trailers, a poster and still gallery and an informative Fulci (text) biography. Once again Blue Underground has done a fine restoration job on an obscure title of dubious quality. God love 'em.