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Striker (Tony Anthony) has just returned from a mission to retrieve an ancient key from a century-old castle filled with death traps, some of them of the supernatural variety, and now his employers, Professor Montgomery (Fernando Villena) and Edmond (Gene Quintano) want to send him off to steal a trio of crowns from the stronghold of cult leader Brother Jonas (Emiliano Redondo). You see, the key can unlock the power of these crowns, power that can be used for good or evil - and Brother Jonas wants to use it for evil of course. Initially, Striker turns down the offer but he's offered a lot of money and a team of his own choosing - so he chooses Edmond, drunkard Rick (Jerry Lazarus), circus strongman Sócrates (Francisco Rabal) and Sócrates' parter Liz (Ana Obregón). Breaking into the "crown room" of Brother Jonas' stronghold is of course a difficult affair, especially since the room's riddled with death traps, plus an accomplished alarm system. But somehow Striker makes it to the crowns undetected, it's only then that the alarm goes off while all his accomplices safe for Liz are killed by deadly contraptions. Striker however manages to open the crowns and becomes an all powerful monster, destroying Brother Jonas and all his followers, and almost Liz, too, but then he turns normal again, sees what the crowns are capable of and destroys them.

Now this film was originally shot and shown in 3D - just like Comin' at Ya!, which the team of Fernando Baldi, Tony Anthony and Gene Quintano shot two years earlier -, which unfortunately is painfully obvious here, as there's hardly an opportunity wasted to throw, stick or shoot something or other towards the camera, in a way that it stands in the way of its story. And that said, the story is actually rather simplisitic to the point of being a bit on the silly side - so much so that the story seems to be just a hanger for (rather basic) 3D effects, while borrowing heavily, but not exactly elegantly, from the then popular Indiana Jones movies. That all said, I won't deny that the film's still some fun, also for its disappointingly on-your-nose approach and its many unintentionally hilarious scenes, and then of course there's the nostalgia effect - but good cinema it's definitely not.

review © by Mike Haberfelner

 

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