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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.

I must comment on this film. It's one of my favorites. It superbly blends Norse mythology and imaginative writing to deliver a gripping, suspenseful tale. The script is witty and fast-paced. The Runestone is actually somewhat of an intelligent film. Sure, this is a lower budget project; but the director spent his money well. He put considerable effort into developing the characters. The monster is truly frightening. The production 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 an compelling, vivacious performance. In fact, everyone in the film is entertaining. The melding of the New York avant garde art world with Norse 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 ambience 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.

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.

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"