Highlander

Director Russell Mulcahy can’t seem to decide from one scene to the next whether he’s making a sci-fi, thriller, horror, music video or romance – end result is a mishmash. Read full review

About halfway through the violent, fantasy adventure Highlander, one character talks about how it was the custom during ancient times to throw babies into a pit of hungry dogs. Well, there were more than a few times during this hyperviolent film in which I felt as if I were a baby being thrown to a dog of a movie. Read full review

Highlander's flashy style is the cinematic equivalent of a Las Vegas chorus line: always kicking. Without Lambert, who displays an unexpected comic talent along with intensely photogenic passive-aggressive eyes, and Roxanne Hart, whose knowledgeable portrayal of a New York detective is undercut by the symphony of screams extracted from her toward the end, and Connery, who wears a pearl-drop earring and is supposed to be Spanish but still has the burr and brio of James Bond, Highlander would be little more than an everlasting video; it's not much more than that, as it is. [10 Mar 1986, p.C9]

Since none of the characters makes sense even on the movie's own terms, Highlander keeps on exploding for almost two hours, with nothing at stake. Read full review

Mulcahy has style to burn, but he may well have used the script to light it, for Highlander almost never makes any sense. [11 Mar 1986, p.B4]

The camera style is grotesquely overwrought, a relentless exercise in technique for technique's sake. It's all here, folks: fancy wipes, expressionistic angles, quick-cut close-ups, stylized backlighting, camera moving in endless illogic. It's as if a 15-minute history of film technique had been compiled by a psychotic. [19 Mar 1986, p.B9]

In spite of a sturdy cast and dazzling production design, Highlander is stultifyingly, jaw-droppingly, achingly awful.[11 Mar 1986, p.5]