Julian Sands stars as the title character, a son of Satan who travels from the late 17th century to the modern era with the mission of destroying the world.

The Warlock confronts a fake psychic, tricking her into allowing herself to be possessed by Satan who tells him to reassemble The Grand Grimoire, a book separated into three pieces which can unmake Creation.

Ripping out the psychic's eyes and using them as a compass, the Warlock finds the first piece of the Grand Grimoire hidden inside an antique table at Kassandra's flat.

After Redferne explains some basic rules of Witches and Warlocks, such as their weakness to purified salt, Kassandra follows him in order to regain her bracelet, which will allow her to become young again.

They find Redferne's coffin and break it open to get the Grimoire when the Warlock arrives, having forced the pastor to reveal the location of the book by threatening to give his wife a miscarriage.

With the rules broken, the Warlock uses his magical abilities to subdue Redferne and claim possession of the final third of the Grimoire and the name of God was revealed on the book.

Before the Warlock can use the Grimoire to say the name of God in reverse, Kassandra stabs him in the neck with the syringe she uses to inject insulin, which she filled with salt water from the lake.

Because the film begins in the colonial United States, director Steve Miner insisted that the leads were portrayed by British actors.

However, on the day of her transformation into a 40-year-old, Singer refused to wear any prosthetics, forcing the makeup men to resort to stippling, shadowing and having the actress don a gray wig.

The opening 17th century sequence was filmed at Plimoth Plantation, a living history museum in Massachusetts, and later scenes were shot in the Boston area.

[8] The farmhouse with the iconic red barn is the George Washington Faulkner House, which was open to the public with an annual pumpkin patch attraction for many years.

[1][6] The Warlock possesses the ability to conjure bolts of ectoplasm which he hurls at unsuspecting foes,[1] but this proved problematic and had to be toned down since it could only be achieved through animation.

No one from Perpetual Motion was available to supervise on the set, so the crew had to shoot background plates and plot the effects on their own and hope that the FX team had the proper materials to work with.

[3][12][13] Despite a variety of issues with the projection during his viewing, New York Times critic Vincent Canby praised the film as "unexpectedly entertaining, having been concocted with comic imagination.

"[16] Richard Harrington of The Washington Post remarked that the film was "...a surprisingly old-fashioned horror adventure that benefits from the superbly malevolent presence of Julian Sands as said warlock" while also applauding the absence of jump-cuts typically used in the genre and lively period dialogue.

[20] Running roughly 54 minutes, these original releases featured numerous deviations from the final film versions and several cues were omitted.

[26] The series contained a few references to the original film and one of the two covers of the first issue was derived from the movie's poster art,[26] but the company was unable to attain the rights to use Julian Sands' likeness.

The makers of the game eschewed the plot of the original film and chose to put the focus on elements of the first sequel, such as the druids and runestones.

[29][30] In court, lawyers on Charles' behalf argued that he had become obsessed with the film Warlock and that the murder was based in part on occult concepts from the movie.

Following his trial he went on to reside at the high security Regional Psychiatric Centre in Saskatoon and was briefly relocated to the Saskatchewan Hospital in June 2013,[33] but was transferred back to the RPC facility that September.