Alright, fellow tapeheads, let’s rewind to the murky depths of the turn of the millennium, a time when DVDs were starting their shiny takeover, but the trusty VHS still held sway in rental stores across the land. Imagine browsing the Fantasy section, past the well-worn copies of Excalibur and Willow, and stumbling upon a curious title: Merlin: The Return (2000). The cover might boast Patrick Bergin, maybe Craig Sheffer, perhaps even Adrian Paul looking faintly heroic. But wait… is that… Rik Mayall? As Merlin? Yes, indeed. And that glorious casting clash is your first clue that you’re in for a unique, low-budget ride.
### Arthurian Legends Meet Y2K Jitters
Directed and written by Paul Matthews, a filmmaker who carved a distinct niche churning out earnest, if often rough-around-the-edges, fantasy and adventure flicks throughout the 90s and early 2000s (think Breeders or Grim), Merlin: The Return throws the Knights of the Round Table into contemporary Britain. The setup is pure B-movie gold: the evil Mordred (Craig Sheffer, a long way from the poetic beauty of A River Runs Through It) awakens after centuries, ready to unleash a magical plague upon the world using – wait for it – stolen scientific research. Naturally, Merlin (Rik Mayall) also pops back into existence, albeit initially trapped within a standing stone, to guide the modern-day descendant of King Arthur, also named Arthur Pendragon (played with weary stoicism by Patrick Bergin, who also cameos as the original King Arthur in flashbacks). They team up with a scientist, Dr. Joan Maxwell (Julie Hartley), and eventually run into a resurrected Lancelot (Adrian Paul, basically bringing his Highlander swagger across). Their quest? Find Excalibur, stop Mordred, save the world. Simple, right?
### The Mayall Factor and a Curious Cast
Let’s be honest, the main draw (or point of bewildered fascination) here is Rik Mayall. Casting one of Britain’s most anarchic and brilliantly physical comedians, famed for the utter chaos of The Young Ones and Bottom, as the wise, ancient wizard Merlin is… a choice. And it’s as weirdly compelling as it sounds. Mayall doesn’t entirely ditch his signature manic energy; there are flashes of the familiar rubber-faced lunatic beneath the beard and robes. He spits out exposition with a mischievous glint, occasionally seeming like he’s about to break character and start hitting someone with a frying pan. It’s not traditional, it’s certainly not subtle, but darn it if Mayall isn't the most watchable thing in the movie. Was he perhaps trying to channel a bit of the unpredictable energy John Boorman got from Nicol Williamson in Excalibur (1981)? Maybe, but filtered through a distinctly Mayall lens.
The rest of the cast gamely plays along. Patrick Bergin, who had played heroes and villains with equal aplomb in films like Sleeping with the Enemy (1991) and the non-Costner Robin Hood (1991), brings a necessary gravity as Arthur, grounding the sillier elements. Craig Sheffer leans into Mordred’s sneering villainy, though the script doesn't give him much depth beyond standard evil plotting. And Adrian Paul? Well, he wields a sword and looks noble, essentially doing what made him a fan favourite on the Highlander series (which had wrapped just a couple of years prior). Seeing these recognisable faces pop up in a production like this adds to that distinct direct-to-video charm. You can almost picture their agents pitching it: "It's King Arthur! In the present day! Rik Mayall's playing Merlin!"
### When Practical Effects Met Pixelated Magic
This being a Paul Matthews joint, likely filmed efficiently in the UK, possibly Wales, the budget constraints are often visible, but that’s part of the VHS Heaven appeal, isn't it? The production design for the ancient flashbacks feels suitably medieval-ish, with decent costumes and props. Excalibur itself looks appropriately mystical. Where the film shows its turn-of-the-millennium seams is in the special effects. The magical zaps and shimmering portals have that slightly chunky, early CGI look that hasn't aged gracefully, contrasting sharply with the practical sets and locations. Remember how some early digital effects felt simultaneously impressive for the time but also strangely weightless? That’s the vibe here.
The action sequences are functional rather than spectacular. There’s swordplay, mostly courtesy of Adrian Paul, and some magical confrontations. It lacks the raw, visceral punch of 80s practical stunt work – the kind where you knew someone probably got bruised making that fall – but it has an earnestness that’s hard to dislike entirely. It’s trying its best, bless its heart. You get the sense Paul Matthews knew how to stretch a limited budget, focusing on getting the story told rather than lingering on expensive effects shots. His films often feel like ambitious home movies made with professional actors, carrying a certain unpretentious sincerity.
### Rental Shelf Oddity, Fond Memory?
Watching Merlin: The Return today feels like unearthing a time capsule. It captures that specific late-90s/early-2000s DTV fantasy aesthetic perfectly. It wasn’t a box office hit (likely never intended for wide theatrical release) and critics weren't kind – its current IMDb score hovers around a painful 3.5/10. But dismiss it outright? Maybe not. There’s a certain nostalgic pleasure in its straightforward plot, its slightly awkward blend of ancient myth and modern tech, and, of course, the sheer WTF-ery of Rik Mayall’s Merlin. I distinctly remember seeing this on the rental shelf, probably nestled between Beastmaster III and something starring Lorenzo Lamas, and thinking, "Well, this looks… interesting."
It’s the kind of film you might have rented on a whim, watched late at night with the tracking slightly off on your VCR, and then mostly forgotten – until someone reminds you of "that weird King Arthur movie with Rik Mayall." It's not a lost classic by any stretch, but it's a fascinating curio from the twilight of the VHS era.
VHS Heaven Rating: 4/10
The Verdict: The low score reflects the obvious technical shortcomings, clunky script, and often underwhelming execution. However, the sheer novelty of Mayall's casting and the earnest, unpretentious B-movie vibe provide a sliver of nostalgic fun.
Final Thought: It’s no Excalibur, but for a strange trip back to when legendary wizards could share screen time with Y2K computer graphics and Rik Mayall, Merlin: The Return offers a uniquely fuzzy, slightly magical memory from the bottom shelf of the video store. Approach with lowered expectations and perhaps a pint, Rik-style.