‘When he comes… all Hell breaks loose.’
Warlock: The Armageddon is a 1993 American supernatural horror film directed by Anthony Hickox (Hellraiser III: Hell on Earth; Sundown: The Vampire in Retreat; Waxwork and sequel) from a screenplay written by Kevin Rock (Howling VI: The Freaks) and Sam Bernard (Blood Surf; The Granny), based on the former’s storyline.
The Trimark Pictures-Tapestry Films production stars Julian Sands, Chris Young, Paula Marshall and Joanna Pacula.
It is a sequel in title only to the 1989 film Warlock and was followed by Warlock III: The End of Innocence (1999).
Bob Keen (Hellraiser III; Nightbreed; Waxwork; The Unholy) provided the special makeup effects.
Two California teens (Chris Young, Paula Marshall) fight a warlock (Julian Sands) for control of six Druid rune stones from the 17th century…
“The story is at times very hokey and the lead (Young) is kind of annoying but Hickox’s furious style and Sands charismatic turn gives this movie the edge it needs. Slap in some kool visual effect, some fun gore and you’ve got an adequate horror serving.” Arrow in the Head
“The film is dark and humorless and has little appeal beyond Sand’s personification of evil, so you could end up rooting for him instead of the boring kids…” John Stanley, Creature Features
“Julian Sands maintains his dignity in Warlock: The Armageddon and still makes for a grand supernatural villain. It would have been great of the writers and Hickox to give him a story with his time […] one that didn’t involve teenage druids leaning to communicate with chipmunks and grill hamburgers via psychokinesis” John Kenneth Muir, Horror Films of the 1990s, McFarland, 2011
“This 2nd entry is great fun with plenty of nasty bits for horror fans. The fun comes as the warlock inflicts his evil unto acquaintances (my favorite being the business man who is turned into a Picasso statue). The FX this round are pretty decent with lots of action…” HNN
“There are some campy effects set-pieces like the yuppie who is turned into a living Picasso-esque sculpture. Julian Sands is at least required to play in a way that suits his typically overwrought manner – all the film requires him to do is deliver campy one-liners, loom handsomely and menacingly without ever having to act.” Moria
” …plays things closer to a traditional horror film than the first one did. We don’t get the backstory here that the movie really needs to work as well as it could have, but judged on its own merits and viewed as a slice of B-grade horror, the picture is entertaining enough.” Rock! Shock! Pop!
“More goofy than scary, the film features a lot of dated effects, but is made highly watchable thanks to the game cast and Hickox’s stubborn refusal to give you enough time to dwell on the film’s many absurdities and enormous plot holes.” Vanity Fear
“Chewing up the landscape with great relish, Sands almost erases all thought of his colorless adversaries. He’s also given additional ammo with some very effective special-effects work. Warlock: The Armageddon has enough fire and brimstone to burn up the screen.” Variety
“Most of this silly sequel consists of stupid scenes of Warlock killing people when they don’t hand him over the magical stones in a prompt manner. He throws a fashion designer through the catwalk, locks a carnival worker inside a hall of mirrors, and turns an art collector into a sculpture.” The Video Vacuum
Warlock: “Is this the best that you can do!?”
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