I’m not the first wayward student of the geek arts to proclaim Bruce Campbell a genius. And I won’t be the last, I assure you. His screen presence mesmerises all who bear witness to it, engendering an outpouring of enthusiastic praise across all creeds and colours, sparking words like god and icon. The self-deprecating sense of humour, the good nature with which he approaches the worshipping fans, the general diligence that propels his career, these are the traits that place him atop the B-movie roster. He enlivens the most dire and plodding of films with but a mere stroke of the chin, setting afire spectatorial glands by way of fleeting cameos and brash one-liners.

Any film fortunate enough to carry the credit ‘Bruce Campbell’ can be expected to offer at least a moment’s grace, even if the rest leaves much to be desired. The pantheon of characters spun from Bruce Campbell’s fecund acting talents is both rich and blinding – a prolific and consistent set of filmic highlights: characters who distract from shoddiness, who ameliorate the woeful, raising the mediocre to exalted heights, turning shite into gold.

Take, for instance, Terminal Invasion. A group of people are stuck at an airport, snowed-in by the weather outside. One of the group is an alien, a vicious sort intent on making internal organs external. Cue tension as they endeavour to find out who is human and who isn’t. All standard fare, typical Sci-Fi Channel output. But throw in Bruce Campbell as a heroic convict and a substandard version of The Thing becomes a piece of art, a ninety minute barrage of Bruce fighting both aliens and the distrust of other characters. This Jack, a cipher for the Bruce Campbell persona, is a typical example of how films are suddenly bettered by a smattering of Bruce.

Through the mire of bit-parts – like his appearance at the start of Congo or his appearance at the end of Darkman – and the larger roles – his turn in Running Time or Bubba Ho-tep’s fine performance – it’s easy to ascertain a pattern. The diamond in the rough, the light punctuating the dark, Bruce consistently brings a smile to the lips and a shot of glee to the head. Whilst I am one to wax hyperbolic on the B-movie individual, forever inclined to celebrate the star’s very essence, Bruce’s appeal stretches considerably further than the peculiarity of Jeffrey Combs or the teeth of Gary Busey. Bruce is the most universally loved of Made for TV and Straight to Video’s thespian faces – he rules deservedly at the pinnacle of low budget heaven.

In Assault on Dome 4 (aka Chase Moran), Bruce repeats his past and future feats of cinematic salvage. He plays Alex Windham, a vicious master-criminal who breaks out of prison and takes control of a scientific research facility by the name of Dome 4. “Die Hard on a space station” is how Bruce describes the flick in If Chins Could Kill. He’s clearly correct to do so. Just before Windham and his cronies take over the compound and terrorise its inhabitants, the film’s hero, the rather lame space cop Chase Moran, arrives to visit his wife. The villains assume control before he can reach the wife and he must fight to rescue her and the hostages, taking out henchmen one by one and irritating Windham by sneaking stealthily around the dome.