In the history of film, there have been the rare breed of filmmakers who have went against the grain and have had tremendously legendary careers making films that raises the bar in sheer craptacular splendor, such as Ed Wood and John Waters. Undoubtedly, German filmmaker Uwe Boll seems poised to be the next great craptacular filmmaker auteur for this generation.

Boll is a die-hard video and computer game fan and is already infamous for his stupendously craptacular, yet fairly faithful film adaptations of games like House Of The Dead, BloodRayne, Alone In The Dark, and Postal. His latest game he has mined is the medieval role-playing game Dungeon Siege, which he's made into the incredibly mammoth monstrosity In The Name Of The King: A Dungeon Siege Tale.

Farmer (Jason Statham) lives peacefully with his wife Solana (Claire Forlani) and their son Zeph (Colin Ford). However, his world comes crashing down when the kingdom of Stonebridge is under siege by creatures known as Krugs.

After killing Zeph and kidnapping Solana, Farmer heads out with his longtime guardian Norick (Ron Perlman) and his brother-in-law Bastian (Will Sanderson) to rescue her. They soon discover, however, that an evil wizard named Gallian (Ray Liotta) has been sought counsel by King Konreid's (Burt Reynolds) scheming nephew Duke Fallow (Matthew Lilliard) to expedite his uncle's remaining life to become Stonebridge's successor. However, once Farmer discovers a shocking truth about his place in the lineage of Stonebridge's ruling family, it ends up being up to him to save and bring peace back to Stonebridge.

While In The Name Of The King on the surface looks like the lowest-budgeted medieval epic ever seen, it reveals to be also just about the most unwieldy and unbalanced medieval epic ever conceived. The script is bad in every way imaginable.

The plot is often extremely incoherent, confusing, and very unfocused with characters too vapid to really care about and too many to keep track of. On top of that, the dialogue is just about the most wildly inconsistent ever witnessed, bouncing back and forth between the oddly and out-of-place contemporary tone and extremely clichéd medieval English meanderings.

The casting is also widely bizarre hodgepodge of has-been performers ranging from the fairly decent (Claire Forlani, Leelee Sobieski) to the incredibly embarrassing (Matthew Lilliard, Burt Reynolds). Even more shocking is the appearance of the incredibly talented Ray Liotta, who turns in possibly the most campy and incredibly over-the-top performance of his career as a cackling and oddly modern-dressing wizard.

On top of odd acting and casting choices that pushes boundaries of the conventional medieval epic, including medieval characters with oddly American accents, the real glaring flaw of the film is ultimately its two hour-plus running time. While some of the proceedings come out rather intentionally comical in a "so-bad-it's-good" sort of way, any moment of