American actorRobert Z’Darwasa staple in B-moviesthroughout the ’80s and ’90s, instantly recognizable with his iconic, larger-than-life jawline and commanding presence. Known for his ability to bring both menace and over-the-top energy to his roles, Z’Dar became a go-to actor for directors looking to add a dose of intensity to low-budget films. His physicality and distinctive look (the result of a condition called cherubism) landed him many roles as henchmen and tough-guy villains.
Indeed, Z’Dar was prolific, appearing in more than 120 movies. None of the projects in his filmography isgood, per se, but a lot of them are entertaining, sometimes ironically. Here are the most enjoyable ones, ranked. From post-apocalyptic adventures to crime thrillers and outrageous sci-fi stories,these movies encapsulate the sheer wackiness of B-movie filmmaking.
10’Beastmaster 2: Through the Portal of Time' (1991)
Directed by Sylvio Tabet
“I am Kadar, and time is no barrier to me.” This sequel centers on the heroic Beastmaster Dar (Marc Singer) who travels through a dimensional portal to 1980s Los Angeles, where he must pursue his villainous half-brother Arklon (Wings Hauser) and the sorceress Lyranna (Sarah Douglas). His only allies are his loyal animal companions and an L.A. rich kid named Jackie Trent (Kari Wuhrer).
The shift in setting allows for some absurd culture clashes as Dar, who’s still dressed in animal skins, must navigate the streets of LA while staying true to his warrior instincts. Z’Dar appears in the supporting cast as Zavic, though his screen time is limited.His performance is menacing and gleefully over-the-top, fitting the movie’s general campy, exaggerated style. Taken as a whole,Beastmaster 2is thoroughly ridiculous, like a low-budget fusion ofConan the BarbarianandHe-Man. That said, many viewers may find it ironically enjoyable, though they should probably begin with the first installment.
Beastmaster 2: Through the Portal of Time
9’The Final Sanction' (1990)
Directed by David A. Prior
“You’re my enemy… and my only friend.” In this zany Cold War action flick, the United States and Soviet Union come up with a wild plan to settle their tensions: each will send a representative warrior to fight to the death in a deserted wasteland, hoping to resolve international disputes without involving entire armies. America’s champion is condemned soldier Sgt. Tom Batanaic (Ted Prior), while the USSR is represented by the merciless Sergei (Z’Dar).
The premise is actually kind of cool, and could have been turned into a tongue-in-cheek black comedy. Here, its potential is mostly squandered, with the filmmakers mostly just using it as a source of action. The third-act plot developments are also rather disappointing. Still,The Final Sanctionis interesting from a cult film perspective in thatit showcases Z’Dar in a larger role than he generally received.He’s actually not bad here; definitely much better than the boring Prior.
8’Samurai Cop' (1991)
Directed by Amir Shervan
“I’m a cop, and you’re under arrest.“Samurai Copis an action-packed, unintentionally funny,so-bad-it’s-good classicthat became a minor cult sensation.Mathew Karedaplays Joe Marshall, the title character, who takes on a violent Japanese gang terrorizing Los Angeles. Z’Dar shows up as Yamashita, the brutal enforcer for the Katana Gang. With his harsh warrior code and deadly sword skills, Yamashita becomes the movie’s ultimate adversary.His snarls, glares, and fierce attacks give the movie some of its most memorable moments.
Beyond the acting, the movie is infamous for its awkward editing, painfully drawn-out scenes, absurd plot, and mismatched dialogue. The cinematography is also grimy and the color correction is terrible. The filmmakers clearly had a lot of ambition and a big vision forSamurai Cop, but they failed on every level. Nevertheless, the film’s goofy energy and ridiculousness prevent it from being a total slog. It’s at least ironically entertaining.
Samurai Cop
7’Easter Sunday' (2014)
Directed by Jeremy Todd Morehead
“I don’t forgive, even on Easter.” This comedy-horror tells the dreadful story of a serial killer who returns from the dead to wreak havoc on a small town during the Easter holiday. It’s a riff on the ‘holiday-themed’ slasher tradition, carving out a dubious niche with its peculiar choice of setting. Z’Dar has top billing as Sheriff Arkin, the lawman tasked with protecting the community from the vengeful revenant.
While far from fantastic,Easter Sundayis at least intentionally wild. DirectorJeremy Todd Moreheadcranks everything to the max, from the camp to the violence. Indeed,the blood flows liberally in this one, with countless people being sliced, diced, gutted, and decapitated. Similarly, the low-fi aethestic and cheesy dialogue are winks to ’80s B-movies. Consequently, it seems like Morehead deliberately cast Z’Dar in the part to draw on his pulp credentials. He rises to the occasion with an intense, gruff, performance.
Easter Sunday
6’Hellhole' (1985)
Directed by Pierre De Moro
“You can’t escape… the Hellhole.” Susan (Judy Landers), a woman suffering from amnesia, is sent to a psychiatric facility after witnessing her mother’s murder. However, she quickly realizes that the facility is more prison than asylum. It’s ruled by the power-crazed Dr. Fletcher (Mary Woronov), assisted by a sinister enforcer named Silk (Ray Sharkey). What follows is a decidedly trashy genre romp, jam-packed with sadistic experiments and shameless nudity.
In other words,Hellholeis very much a low-budget mess, one of the weaker entries in the ‘women in prison’ subgenre. It offers little of entertainment value, although the supporting performance byEdy Williamsas Vera is not bad (especially when compared to the amateurish performance that surround her). Nevertheless,this movie is important in terms of Z’Dar’s filmography because it marked his feature debut.He has a small part as a character named Brad, but his appearance kicked off a string of small roles in B-movies, effectively launching his career in the world of exploitation cinema.
In 1987 Poland, a police officer investigating mysterious disappearances infiltrates a remote monastery and discovers a dark truth about its clergy.
5’Mobsters' (1991)
Directed by Michael Karbelnikoff
“You gotta fight for what’s yours.” Set during Prohibition,Mobstersfollows young versions of legendary mob figures likeLucky Luciano(Christian Slater) andMeyer Lansky(Patrick Dempsey) as they rise to power, navigating the dangerous alliances and inevitable betrayal.It’s all highly fictionalized and stylized, rather than realistic.Z’Dar is Rocco, an enforcer whose loyalty to his bosses and cold-blooded approach make him a formidable presence.
As violence erupts between rival factions, Rocco is more than willing to get his hands dirty to protect his territory. Z’Dar provides a welcome dose of grit to the movie, in contrast to the less believable performances from the young heartthrob leads like Slater and Dempsey.Anthony QuinnandF. Murray Abrahamare also solid in the supporting cast. Nevertheless, the movie falls short of its potential, with self-indulgent direction, a weak script, and confusing storytelling. Many reviewers accused it of placing style over substance, likening it to an extended commercial.
4’A Gnome Named Gnorm' (1990)
Directed by Stan Winston
“Sometimes, even gnomes need a little help.” This oddball fantasy flick was directed byvisual effects legendStan Winston, who worked on classics likeThe Thing,Terminator, andJurassic Park. Unfortunately, his visual flair does not translate into great directing with this one. Story-wise, the movie follows Gnorm (voiced byRob Paulsen), a gnome who comes to the human world to complete a rite of passage, but ends up embroiled in a crime investigation with a detective named Casey (Anthony Michael Hall).
Z’Dar plays the supporting character Reggie, a henchman involved in the scheme to steal a precious gem.It’s the kind of character that leans into his typecasting.Though better than a lot of the B-movies in the actor’s body of work,A Gnome Named Gnormdoesn’t serve up much to justify a viewing, other than the impressive puppetry and animatronics. It’s too silly, too dated, and wraps up in an overly cute ending.
A Gnome Named Gnorm
3’Cherry 2000' (1987)
Directed by Steve De Jarnatt
“I can get you what you’re looking for… if you’re brave enough.“Cherry 2000unfolds ina post-apocalyptic futurewhere a man named Sam (David Andrews) searches for a replacement for his beloved robot wife. When his robot malfunctions, Sam hires a mercenary named E. Johnson (Melanie Griffith) to help him find a new model in the lawless wastelands. As this premise makes clear,Cherry 2000is an uber-weird sci-fi concoction, blending action and buddy-cop elements with an offbeat romance and some Western tropes.
This is like a hypersexualizedMad Max, with hints of dollar-storeBlade RunnerandSpike Jonze’sHer, had that movie been directed byEd Wood. The acting is mostly wooden and hammy, except for Griffith, who is oddly flat. For these reasons, while it’s frequently disastrous,Cherry 2000is one of the most intriguing projects Z’Dar appeared in(although he just has a small part). Fans of trashy sci-fi might enjoy this gonzo ’80s fever dream.
Cherry 2000
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2’Maniac Cop' (1988)
Directed by William Lustig
“Look at his face… He’s not a cop. He’s a monster!” Z’Dar has a major antagonist role in this slasher, playing the titular Maniac Cop, an undead police officer named Matt Cordell who stalks the streets of New York City, killing civilians at random. Once a respected cop, Cordell was wrongfully imprisoned, where he suffered brutal attacks that left him horribly disfigured. When innocent people start dying at Cordell’s hands, it’s up to Officer Jack Forrest (Bruce Campbell) to stop him.
Maniac Copis ludicrous, to be sure, but it’s entertaining enough in its low-budget, rough-around-the-edges way. Fundamentally, it’s a decent B-movie outing. The film at least gives Z’Dar room to have fun and lean into his scenery-chewing. Plus, Campbell is always fun in these kinds of roles. Consequently,Maniac Copis a bit of a cult movie, and spawned a few sequels. At one point,Nicolas Winding Refnwas evenattachedto a TV series remake.
Maniac Cop
1’Tango & Cash' (1989)
Directed by Andrei Konchalovsky
“This is Tango and Cash. They’re like Batman and Robin, only worse.” The most enjoyable movie Z’Dar appeared in is probably the buddy cop action comedyTango & Cash.Sylvester StalloneandKurt Russelllead the cast as the title characters; one a by-the-book cop, the other a streetwise maverick. The pair must clear their names after being set up by a powerful drug lord. The movie is unabashedly earnest, serving up a steady stream of stunts and a fun dynamic between the stars.
It was a recipe that pleased audiences if not critics, with the moviegrossingan impressive $120m. It also features a decent performance from Z’Dar as “Face”, a volatile convict with a vendetta against Tango, whom he claims broke “his ribs, his legs, and his jaw”. Z’Dar reportedly landed the role because the director liked his performance inManiac Cop. Fast-paced and larger-than-life,Tango & Cashis bad in a way that will delight a lot of ’80s action fans.
