Deceived that he had won the Prize, Connor MacLeod awakens from a peaceful life when an entombed immortal magician comes seeking the Highlander.
The plot may not be any less far-fetched and Lamberts Scottish accent is certainly no more Scottish, but the third instalment in the Highlander story finds a franchise at least partially back on course after its lame predecessor.
Set chronologically in-between the first two movies, Lambert returns to play the immortal swordsman Connor McLeod, now living with his adopted son in Marrakech. It cant last, of course, and the Highlander soon finds his peaceful existence threatened when the all-powerful, distinctly anti-social Kane (Van Peebles) escapes from 400 years of entombment with the specific intention of removing Lamberts head from his shoulders. Matters are further complicated by the arrival of curvaceous archaeologist Unger who, it comes as no surprise to discover, has been Lamberts French revolution era mistress in a previous incarnation. The scene is thus set for a return to New York and yet another bout of dark threats, Gallic posturing and excessive swords n sorcery hokum.
The absence of Sean Connerys mentor figure may come as a bit of a blow, and the Versailles flashbacks are just ludicrous, but there is some real effort being put in here. Debut director Morahan pulls off a few dazzling special effects and Lambert hones in on a splendidly fitting grim stoicism. Best of all is Peebles who spends the entire movie stalking around in silly costumes and muttering such corkers as Four hundred years is a long-time to hate like a man whos got the next Bond villain job in the bag. Big, dumb fun, just try not to snigger too loudly in the sad bits.
Lame, but in a good way.