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|Index||18 reviews in total|
When I started watching this I thought it was going to be really boring
and didn't pay much attention to what was going on. However, it seems
that The Runestone is one of those films that improves as it goes on,
because things seemed to pick up in the second half. The mystery
surrounding the monster slowly sucks you in. The best scene is in the
art museum, where a girl is doing some ironing (in a display box
thingy) and people are watching her. Suddenly the monster bursts in and
attacks her, and blood sprays across the windows. One of the people
watching then says: "What's the artist trying to say?" to which another
replies "Housework kills". The monster then bursts through the glass
and attacks them too. This scene is priceless and definitely worth
seeing the film for! There are a few other cool scenes after this which
keep you watching. The acting is quite decent and better than most
Overall, The Runestone is worth a watch for horror fans who can tolerate a bit of cheese.
I must comment on this film. It's one of my favorites. It superbly blends
Norse mythology and imaginative writing to deliver a gripping,
tale. The script is witty and fast-paced. The Runestone is actually
somewhat of an intelligent film. Sure, this is a lower budget project;
the director spent his money well. He put considerable effort into
developing the characters. The monster is truly frightening. The
values are excellent. Some of the scenes possess a surreal quality that I
really enjoy. The cast is certainly up to the task. Joan Severence gives
compelling, vivacious performance. In fact, everyone in the film is
entertaining. The melding of the New York avant garde art world with
archaeology in various scenes is one of the elements that let this film
enthrall the viewer. Its a fun ride to just sit back and enjoy the
and imagination of it all.
I consider "The Runestone" one of the top films in the monster genre. I think that once you see it you will too.
*** This review may contain spoilers ***
One part end-of-the-world thriller, two parts werewolf-like nocturnal
beast on the rampage horror picture, and all parts quick-moving,
animated, get right down to business butt-stomping fun, this hugely
enjoyable romp makes for a most pleasant surprise. An ancient
rhunestone that's the prison for a centuries old clawed, fanged, highly
lethal lupine humanoid monster gets unearthed in a Pennsylvannia coal
mine. When the gigantic rock is sent to New York City so it can be
displayed in an art gallery, naturally our hairy, hulking, none too
friendly or sociable whatchamathingie wakes up from its lengthy slumber
and boy is he one grumpy SOB! Pretty soon it's racking up a hefty
corpse tally as a gruesome preliminary to a possible apocalypse said
beast is a harbinger of. Of course, your usual colorfully mixed bag of
courageous protagonists -- skeptical artist Joan Severance, her hunky
boyfriend Tim Ryan, plucky teen Chris Young, and eccentric clockmaker
Alexander Godunov -- have to stop this vicious critter or it's curtains
for us all, baby!
Besides the inspired and imaginative handy dandy multi-genre combo narrative which scores bonus novelty points for making Armageddon part of a Nordic prophecy rather than the standard hackneyed Christian religious hooey, this surprisingly well-produced and energetically executed little number further benefits from William Carroll's brisk, capable direction, a steady, unflagging forward-ho pace, David Newman's rousing score, some nice witty touches, a cool monster, handsome photography, several lively kill scenes, and a properly spooky atmosphere that positively reeks with ominous portent. The performances are uniformly stellar as well, with Peter Riegert giving a wonderfully rough-edged portrayal of a coarse, irascible, candy-noshing homicide detective and delightfully crusty cameos by Lawrence Tierney as a gruff police chief, William Hickey as a flaky elderly mythology expert, and Arthur Malet as an amiably yappy fuddy dud museum curator. Dynamic, thrilling and refreshingly bereft of any needless pretense or condescending campy humor, this vastly entertaining and charmingly old-fashioned fright film overall rates as one completely worthwhile and satisfying bloodthirsty behemoth on the loose in the Big Apple horror blast.
The miners discover strange runestone in the mine.The runestone is transported to New York.Not long after that an archaeologist Martin Almquist,while studying a discovery,cuts his finger and becomes a blood-thirsty monster.This creature-on-the-loose flick isn't very good,but isn't completely bad either.The film tries to be scary and exciting at the same time,some lines are also pretty funny.No gore at all-for me the lack of blood is disappointing.The acting is acceptable,the monster is creepy looking and kills so many cops that it has to be seen to be believed.Good for the rainy day,just don't expect anything special.My rating:5/10.
This one is a perfect example of 80's cinema squirming its way into 90's cinema. The story involves an architect whose unrequited love signs him a pact with the Norse demon Fenrir, who takes control of his body. Werewolfish Fenrir can only be destroyed by a Christopher Lambert-esque clock maker and a well-read teenage boy. David Newman's (Heathers, Frankenweenie) melodramatic score makes this movie stand up a notch above the rest. This one is a winner for fans of movies like Warlock and Bad Moon.
This has all the necessary elements of a good campy horror film but it stumbles and is at times confusing. But is does provide entertainment and the finale is quite exciting. Not all that bad. Could have been more polished though.
You know those movies with a cool idea and set up that should have been
a lot better? This movie is one of them.
A mysterious runestone is discovered in Pennsylvania and taken to the city, where it turns out to have housed the Norse wolf Fenrir. Fenrir escapes and goes on a killing spree. It turns out that the ancient Viking explorers who arrived to America left Fenrir off inside the runestone (thanks, Nords!) and now that he's been unleashed, he's set to begin Ragnarok (aka, Nordic doomsday).
Again, it's a cool premise, and with an awesome soundtrack, decent acting, and capable directing, this film has promise. Unfortunately, the movie gets dumb, and it gets dumb quick. For one, I'd like to know how Fenrir intends to destroy the world when he seems to mostly just do random killing on the street (I've read a little on Ragnarok, and Fenrir's role is a LITTLE MORE involved than just going around killing thugs and homeless guys. Furthermore, it is established early that guns don't work on Fenrir. One character, a police detective, even figures this out from firsthand experience. Despite this, people seem to continually think that a bunch of guys armed with guns are able to fight Fenrir off. Nobody seems to stop and think, "Hey! Wait a minute! Guns don't work! Maybe we should look for SOMETHING ELSE to fight this beast with!" As a result, a lot of policemen needlessly die (and of course, nobody in the city or press ask why half the police force just went bye bye). It's a personal pet peeve of mine when characters don't seem to adjust accordingly, like any sane rational person would. Remember the "Prince of Space" episode of MST3K where Crow shouts to the characters, "YOUR WEAPONS HAVE NO AFFECT ON HIM!" That's how I felt near the end of this movie. I have to also admit that the monster design is a bit disappointing. No, I'm not bummed it wasn't CG. The monster suit itself is actually pretty impressive...however, I just feel like a powerful Nordic spirit would look a little different than a glorified werewolf.
There are also some unintentionally funny moments. For example, when the character of Martin attacks a girl, another character says, "Martin! What the h--- are you doing?!" to which Martin replies, "Martin is doing THIS!" and punches him. Then there's another scene where Fenrir puts on a police cap and kills a policeman while wearing it. Really?! The film lost all seriousness for me at that point. I seriously expected Abbot and Costello to appear on the scene after that.
Like I said before, the film had amazing potential. It started out really well for the first forty-five minutes or so, but then it starts to go downhill quick. There is plenty to commend this film for, but in the end it just doesn't work out.
Just another monster on the loose feature, no surprises abound and
routine as ever but remains entertaining for while it lasted. Never
have I heard of it, until just recently. You could possibly see why.
Far from memorable, but it's well made and its stark-like b-grade
material (adapted off a novel) is quite polished. Fans of "The Relic"
or even "Rawhead Rex" might get something out of it. Where I give it
props is the origin of the mythological beast, Norse (Viking) folklore
and the creation was something like a werewolf crossed ape design.
Formidable in appearance, while it goes about tearing flesh, taking
bites and for most part staying in the shadows. Even with this ancient
prophecy background, some things felt a little unclear (like that of
Alexander Godunov's mysterious stranger clockmaker character) if too
black and white. The plot follows that of an archaeologist who uncovers
an ancient Norse artifact; a power stone and returns to New York with
it. However this stone possesses an evil which projects itself into the
archaeologist, transforming him into a vicious beast that goes about
terrorising the people of New York. Now it's up to an archaeologist and
his artist wife to begin to investigate the threat and figure a way to
stop it. It's as simple as that, but director / writer Willard
Carroll's methodical handling is stylishly glassy and well-paced in its
clichéd structure. Creating some moments of suspense, with grisly jolts
and dark atmospheric encounters consisting of brooding lighting amongst
its urban framework. The performances are strongly delivered with the
likes of Peter Riegert (providing touches of humour) and Joan Severance
standing out. You also have character actor William Hickey and the
always hard-boiled Lawrence Tierney in small, but important parts.
"I'm sure there's a logical explanation to all of this"
OK - I had to throw in my two cents after I read a reviewer professing
The Relic to be a BETTER film?! What! Firstly - The Relic sucked.
Period. No scares, no thrills, no suspense, totally ridiculous,
horrible direction. It was one of the horror movies you go to opening
night amongst a packed theater and afterwards everyone just kinds of
sighs "man that was anti-climatic". The Relic on the other hand is a
good little monster movie, and it's certainly compelling and hold's
interest. It had a nice thick atmosphere and a good build - some good
scares and laughs. This is a good Saturday night at home w/popcorn,
soda, and wine, kind of movie.
Check it out!
The Vikings discovered America, but not to start a mediocre NFL
team, no, they had to bury a giant rock half a mile under modern
day Pennsylvania. The rock held a Norse demon who can only be
released when the stone is dug up...and guess what
archaeologist Mitchell Laurance does?
Laurance calls his former love Joan Severance, who brings her
new hubby Tim Ryan, and everyone has a gander at the giant
runestone, which resembles a big candy bar with strange etchings
in it. Before you can say "uff-da," Laurance is possessed by the
creature and begins to run around New York City virtually
unnoticed. Severance seems to be the prey, but maybe the
creature is just trying to get some of Stella Adler's basic acting
guides delivered to her.
Cue a gaggle of unnecessary characters. William Hickey is a crazy old man (what a stretch) who knows all, and is promptly dispatched. His grandnephew, mopey teen Chris Young, finds out later he is integral to the killing of the demon, thanks to legend, folklore, myth, hearsay, and other convenient exposition. Peter Riegert is the Pez popping, cussing detective who keeps shooting the indestructable creature but cannot seem to convince boss Lawrence Tierney that something is killing policemen by the claw full.
The late Alexander Godunov, who was so good in "Die Hard," "Witness," and "The Money Pit," is brought in way too late to help matters. His entire role until eighty minutes into the film consists of standing in a room full of clocks and and uttering nary more than two words. Once he gets going on the demon, he proves he should have been a major action star who never seemed to find that breakout role.
Eventually, David Newman's excellent, bombastic, and all-wrong score indicates the big finale, complete with collapsing skyscraper floors and dimension travel. Most of the violence takes place off screen, but this seems to be a budgetary decision more than anything. The gore is there, but nothing special. The creature effects are especially weak, all claws and fur, but with a most unconvincing mask. One shot shows the masked actor's eyes a little too clearly.
Throw in some stupid puns and bad jokes that do not work at all, and "The Runestone" is a noble failure that should have worked on more levels than it does. I will slightly not recommend it.
This is rated (R) for strong physical violence, strong gun violence, strong gore, strong profanity, very brief female nudity, and sexual content.
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