The third and latest entry in Uwe Boll's In The Name Of The King film series (based on the Dungeon Siege video games) stars not Jason Statham (from the first movie) nor Dolph Lundgren (the star of the second movie) but Dominic Purcell as an American hitman named Hazen Kaine. Mr. Kaine hasn't had an easy go of it. He's a veteran and his efforts serving his country overseas have left some serious mental scars which were understandably accentuated by the mysterious death of his family. During his latest assignment, which he hopes will be the last for his European benefactors, he winds up stealing a necklace that has a medallion on it that just so happens to match a tattoo that Kaine has on his arm.

Somehow the pairing of the medallion with Kaine's tattoo opens up a time portal and before you know it, he's been sucked through it back to medieval times. It takes him some time to adjust to his surroundings but once the inevitable culture shock wears off, Kaine finds himself caught in a blood feud between the current king and his brother, a man who claims to be the one true heir to the throne and who intends to do whatever he must in order to stake that claim. Oh, and that tattoo or Kaine's? It evidently alerts the locals, two hot warrior girls in particular, that he has been sent here by their god to set things right. And there's a giant fire-breathing dragon here too, who will of course follow Kaine back to modern times once he figures out how to get there, right? Right. It's a Uwe Boll movie, so of course he would.

If there was only one word to describe In The Name Of The King: The Last Mission (which, let's face it, is probably not going to be the last mission), it would be goofy. There isn't a whole lot of reason for any of what happens in this movie to have happened and you definitely get the impression that Boll simply took a whole bunch of ideas that he probably thought were cool and just through them all in here for the sake of throwing them all in here. Why is there a dragon that follows our reluctant hero through time? Because it's cool. Why does his tattoo jive with the magical pendent? Why not, it's cool! Why does he team up with two completely disposable hottie warrior chicks? Well, if you're going to have magical tattoo pendent things and a dragon, it simply stands to reason that you should have some hottie warrior chicks too, after all, they're cool! In a way you have to admire the fact that Boll has once again made a completely nonsensical movie and not only that, managed to get it distributed by a major studio like Fox.

The movie is just nutty enough, however, that if you enjoyed the first two entries on whatever level, you'll probably get a kick out of this one too. Yes, the CGI is bad and the dragon looks like a bad video game rendering and yes, the plot is full of absolutely massive holes and even bigger logic gaps but this Army Of Darkness meets Dragonslayer meets Whatever Hitman Movie You'd Like To Name mashes genres with such reckless abandon that, if nothing else, it'll keep you entertained. There's a really bizarre conflict in the movie in that while it absolutely subscribes to every genre cliché you can think of, it does so while simultaneously disregarding any logic that might accompany them.

The cast, primarily made up of Eastern European actors and actresses, sort of manage to lumber their way through this with varying degrees of scenery chewing and reluctant sleepiness leaving Purcell, probably best known for Prison Break to do most of the work. He's not the most emotive thespian on the planet but he does fine here, given the script he's got to work with and all of the silliness that it entails. He does no better than Dolph or Statham before him, but really he doesn't do any worse either. This will certainly appease the Boll faithful, but at the same time it won't go any further to sway those who don't appreciate the lunatic director's inimitable style of wacky filmmaking.

Video:

In The Name Of The King 3: The Last Mission looks good on Blu-ray presented in an AVC encoded 1080p high definition transfer in its 1.78.1 widescreen aspect ratio despite the fact that a whole lot of this movie is shot shaky cam style. Detail is crisp and sharp throughout the film (when the camera isn't zipping all over the place, which is often) and colors are nicely reproduced here. As the movie was shot digitally there are no problems with print damage, dirt or debris of any kind and the image is very clean looking, as it should be. Black levels are strong and deep if not completely consistent (a few times too many they look dark grey, not inky black) but there are no compression or noise reduction issues of note.