Sword-and-sandal films that top ranks

Sword-and-sandal films come in all flavors, from the cheesy Italian pepla of the ’50s and ’60s to big-budget Hollywood biblical epics to the sword-and-sorcery romps of the ’80s. But almost all invariably involve ripped dudes in togas or loincloths going gladiator on various foes, be they Roman soldiers or Gorgons.

They belonged, for a while, to a bygone era of filmmaking. But they’re back with a vengeance: This year already has seen the release of “The Legend of Hercules” and “Pompeii,” with “Noah” and “300: Rise of an Empire” still to come.

From sweeping biblical and historical epics to cheesy mythology romps, here are 10 of the most entertaining swordand-sandal films. “The Robe” (1953): This sweeping 20th Century Fox biblical classic is most notable for its historical importance as the first film released in CinemaScope, paving the way for bigger and better Hollywood spectacles. But it’s still impressive in its own right, with Richard Burton starring as the Roman tribune presiding over the crucifixion of Jesus, and who later is tormented by his actions after winning Christ’s seamless robe in a game of dice. It makes for a stately, though stiff, drama. “The 7th Voyage of Sinbad” (1958): The specialeffects work of stop-motion-animation wizard Ray Find a review of the movies at movies.azcentral.com. Harryhausen was critical to the sword-and-sandal genre on the mythological end of the spectrum. This Sinbad adventure, about the fictional Middle Eastern sailor crossing swords with a wicked magician over a magic lamp, was Harryhausen’s first color feature film, and it’s a spectacular showcase of his fantastical vision. It’s all still cool: the dancing cobra woman, the shrunken princess, the childlike genie poofing in and out of his lamp. But nothing is cooler than a cyclops fighting a dragon. “Gladiator” (2000): Ridley Scott lent dramatic legitimacy to the swordand-sandal drama and rekindled interest (for better or worse) in overblown historical epics with his action-heavy, best-picture-winning gladiator pic. Russell Crowe stars as Maximus, a Roman general out for revenge after the emperor’s corrupt (and creepily incestuous) son Commodus (Joaquin Phoenix) murders his father, claims the throne and has Maximus’ family killed. It has all the titillating hallmarks of the lowbrow genre: blood, vengeance, sex, tiger fights. But throw in Oliver Reed (in his final film role) and close-up shots of hands grazing wheat in contemplative fields, and you have an Oscar winner. “Rome” (2005-07): It’s not a movie, but this short-lived HBO series has the opulence of one (but with more nudity and violence). Set in the first century B.C., this lush ancient Rome is populated with a sprawling ensemble cast. And although there are many familiar historical figures — Julius Caesar, Mark Antony — the series is grounded by filtering much of the story through two soldiers, Lucius Vorenus and Titus Pullo, whose ordinary lives in the gritty city become entwined with key historical events. “Clash of the Titans” (1981): No, not the goofy, lifeless 2010 version of the myth of Perseus that stars Sam Worthington. The special effects may have been smoother in that one, but nothing beats the tense and terrifying Harryhausen-animated battle sequence against the snake-headed Medusa. It’s an indulgent swan song to Harryhausen’s animation technique and the mythological fantasies that gave way to the swordsand-sorcery and sci-fi adventure tales of the ’80s. “Time Bandits” (1981): OK, it’s a stretch. But then so is everything about the weirdest film Terry Gilliam ever made (and this isn’t even the one with Robin Williams’ floating head). A madcap tour through history briefly lands child protagonist Kevin and his merry band of time-traveling dwarfs (now on the run from the Supreme Being who once employed them to repair holes in spacetime) in Mycenaean Greece, where King Agamemnon (awesomely bearded Sean Connery) wages battle against the minotaur. “Conan the Barbarian” (1982): This isn’t a good movie the way that, say, “The Godfather” is a good movie. In fact, it’s a barely competent live-action cartoon full of boobs and bulging muscles — which is precisely what makes it the ultimate swordand-sorcery adventure film in a decade rife with them. Arnold Schwarzenegger wasn’t yet a film star and could barely spit out his English lines through his Austrian accent, but that didn’t matter so long as he looked cool wielding a sword. The movie in a nutshell? The scene where a bloodied Conan, crucified to a tree, bites a vulture to death. God bless the ’80s. “Jason and the Argonauts” (1963): This telling of the mythical Greek hero’s quest for the Golden Fleece is the best Harryhausen movie, and three words explain why: skeleton sword fight. It’s the crowning sequence of his illustrious career, when the bad guy flings the slain hydra’s teeth to the earth and each one sprouts a skeletal warrior; the resulting battle sequence between skeleton and man is a masterpiece of stop-motion animation. There are all kinds of other cool mythological monsters, too, and a bevy of buff-thighed dudes who are little more than playthings of the gods. “Spartacus” (1960): This epic historical drama starring Kirk Douglas as the titular rebellious slave and gladiator is the most vanilla film that director Stanley Kubrick made in a career defined by ambitious, groundbreaking filmmaking — and his only Hollywood blockbuster. Kubrick rocked at it, even if it wasn’t his cup of tea, and it contains one of his most iconic and oft-parodied scenes in cinema, with dozens of recaptured slaves declaring “I’m Spartacus!” in a proclamation of solidarity. A reluctant classic, in spite of Tony Curtis’ accent. “Ben-Hur” (1959): If a film is going to have the nerve to run for 31⁄ hours, it had better be good. Really good. Fortunately, “Ben Hur” is Hollywood indulgence at its best, a rip-roaring 70mm historical drama that won a record 11 Academy Awards, including best picture — a feat that would not be equaled until 1997’s “Titanic.” Big budget, big sets, a big star in Charlton Heston. The piece de resistance, of course, is the big action sequence, a nine-minute chariot race that remains one of the most influential pieces of cinema ever committed to film, making this the sort of film that’s equally at home in the classroom as on the biggest screen you can find.