In January of 2013, Teleport City had a pretty notable server meltdown and database corruption, which naturally, occurred while I was on vacation and with spotty internet connection. Thus began a big move from hosting the site on my own server and dealing with all the backend hassle that entails, to moving it to a hosting service (wordpress.com). All has been pretty awesome as a result, but one of the things I lost during the move (besides an amazing history of bizarre search phrases that brought people to the site) was all our statistics. In the ten months we’ve been in our new home, traffic to the site has been pretty encouraging, but there are a number of older reviews that got imported and were never really promoted in our new space. They make up the Teleport City bottom ten, the least viewed reviews since we made the big move.
Really, Pinhead? Really? This is how you treat me? We’ve come so far, and I’ve given positive reviews to so many of your movies, and this is how you pay me back? I suppose it’s fitting. After being lea down the tempting and Byzantine labyrinths of the Hellraiser franchise, I finally arrive and the final (for now, anyway) installment, only to discover it is the cinematic equivalent of finally solving the puzzle box only to have hooked chains shoot out and rip me to pieces.
Hellraiser: Hellworld is beyond awful and well into the “absolutely unwatchable” territory. I can’t think of a single redeeming thing to say about this horrible movie, with the possible exception of “Well, at least they finally got around to having Lance Henrikson appear in a Hellraiser film.” But that’s hardly enough for this wretched retread of other, equally as bad horror films. The plot this time around goes “meta” — featuring a group of twenty-somethings who play an online Hellraiser themed video game, only to discover that the game may be more real than they realize!!! Oooo! When the players are invited to a special “Hellworld” rave for the hardest core gamers, they find themselves in the mansion of Lance, who spins them a yarn about the house being built by the same Le Merchant who made the Lament Configuration, even though that guy lived and died in France. As the kids wander from one room to another, they are slowly killed off, one by one, in the usual outlandish fashion…or are they???
See, here’s the thing about Kari Wuhrer: I don’t know what the thing is with Kari Wuhrer. I mean yeah, she’s hot, but plenty of men and women are hot, and most of them didn’t star in Beastmaster II: Through the Portal of Time. There is very little in the career or Kari that I’ve liked, and yet my obsession with her as an actress continues to urge me toward watching whatever goofball piece of junk in which she appears. The way some people think Angelina Jolie is the hottest woman on the planet, or Aishwarya Rai? That’s sort of how I feel about Kari. I just like the woman, and I have ever since Remote Control.
That said, it was inevitable that, even after the dismally dull part six, any meeting of Kari Wuhrer and the Hellraiser franchise was going to get my attention. So I sat down for this seventh installment in the the long-running horror series with some degree of anticipation that, at the very least, it would offer me something more than a jackass having hallucinations while sitting in his office cubicle. And hey, what do you know! Hellraiser gets itself back on track, at least to some degree. Deader, like most of the sequels, is far from being in the same class as the original, but it’s also far from being in that other class occupied by Hellseeker and Hell On Earth, that dimension of pain where even Pinhead dare not tread. This means the movie falls somewhere in the vicinity of Bloodline (part four) and Inferno (part five) in being a flawed but ultimately decent horror film.
Kari stars as perpetually smoking Amy Klein, one of those ace “reporters on the edge” who covers the sort of stories that are only covered in movie versions of what an ace reporter on the edge would cover. Which means, less war in Gaza and Somali pirates, more exposes on sleepy drug addicts and Eastern European resurrection cults. After her editor receives a videotape of a young Eurotrash goth type committing suicide only to be raised from the dead by a guy with stringy hair while other Eurotrash goth types stand around and sway, Amy is off to Bucharest to investigate the story. Eastern Europe is, as you all probably know, the favored haunt these days of pretty much every low budget horror film being made. Here’s an instance where the location works, though. Certainly more so than when a filmmaker tries to pass Prague off as Las Vegas. The Eastern European aesthetic — or at least what we in America imagine to be the Eastern Europe aesthetic — lends itself nicely to the Hellraiser world. Certainly Pinhead is going to seem more imposing when he appears in some crumbling ancient stone building or dripping concrete tenement than when he shows up in Terry Farrell’s posh Manhattan penthouse apartment.
Speaking of which — here’s a movie that at least puts its reporter in the right tax bracket. As someone who works professionally as a writer, despite all the evidence present here that I should be kept away from words, I’m always amused when a film’s struggling young writer can still manage to live in a sprawling multi-story, multi-room penthouse with a breathtaking view of the Manhattan skyline, as did our intrepid reporter in Hellraiser III: Hell on Earth. By contrast, Amy Klein is already an established reporter, but she still lives in an alcohol and cigarette smoke stained shithole. Now that is the sort of reporter’s life to which I can relate.
Anyway, Amy follows the trail of the videotape to an apartment where she finds a corpse and the fabled Lament Configuration puzzle box. So begins her descent into the usual Hellraiser madness, which includes industrial music party trains, an over-reliance on hallucinations and “dream within a dream” red herrings, shoehorning in of the word “flesh,” and token appearances by Hell’s favorite bail bondsman, Pinhead. All in all, as I said, it’s a pretty huge step up from the last film, and there are some sequences that are genuinely effective. My favorite is the dream-within-a-dream nonsense in which Kari finally discovers the location of the “Deaders” cult, as they call themselves, only to find herself forced to undergo their ritual. Then it turns out that was all a dream, then it turns out that dream was a dream, and she really does have a huge gaping hole in her chest. So begins a nightmarish yet blackly comical sequence where she tries to continue her investigation even though she has a huge chest wound that is continually oozing blood all over the place. In addition, her discovery of the industrial music party train after everyone in it has been slaughtered is another wonderfully creepy moment, as is her claustrophobic journey to the Deaders’ hideout.
The film also features one of Pinhead’s most overtly evil moments. The revelation that Amy was sexually abused by a father she eventually stabbed to death is pretty standard shock movie territory, so much so that at this stage in the game, it’s more likely to illicit rolled eyes and “ho hums” than any real horror. But when Pinhead finally shows up for his cameo, he remarks, almost off-handedly, that Amy will have ample time to spend with her father when she has been carried off to Hell, it makes the tired “sexual abuse” background worth the trouble, because that’s flat out creepy. Up until this point, really, the suffering delivered by Pinhead seemed too fanciful (remember the evil carnival in part two) or supernatural (the ever-present flying hook chains) to really be scary. Gross, maybe, but rarely scary. When Pinhead suggests that Amy will be spending eternity trapped with her sexually abusive father — that’s a horror a person can comprehend, and that makes it far more effective than any of the more fantastical nonsense Pinhead might throw at you. After being served up as sort of a cool anti-hero for the past several movies, that one moment makes Pinhead more recognizably evil and terrifying than at any other point in the series.
We also get something that we haven’t had in any of the Hellraiser movies, even the original, which is a downbeat “no one gets out of here alive” ending. In the other films, despite all else that happens, good triumphs over evil, the heroine escapes, the scumbags get ripped apart by hook chains, Pinhead is banished back to Hell by being covered in animated lines while he yells “Nooo!” and we’re pretty happy with how things turned out. Not so in Deader, however, which is thoroughly pessimistic and grim from start to finish. Amy Klein is a damaged but still somewhat decent person, but there is no redemption or catharsis waiting for her at the end of the journey.
Of course, as is standard with the direct to video Hellraiser sequels, Deader is not without its many problems. Once again, we have a script for an entirely unrelated movie that has been retooled to function as a Hellraiser movie. This means that much of the Hellraiser related material feels as shoehorned in as awkward uses of the word “flesh.” The plot depends on the actions of the Deaders and their leader somehow representing a “trespass” into the world of the Cenobites, but how exactly this becomes the supernatural equivalent of Pinhead telling kids to stay off his lawn remains unclear. As far as I know, merely committing suicide isn’t enough to get you into Pinhead’s wing of Hell; you have to actually summon the Cenobites. So I don’t know why Pinhead is so steamed that these kids are killing themselves then being brought back to life. Similarly, the movie links Deader “messiah” Winter (Paul Rhys) to the Le Merchant bloodline that created the puzzle box, but it doesn’t seem to have much of an idea with what to do with that subplot other than mention it. Certainly Winter doesn’t exhibit any of the traits that Bloodline lead us to believe are part of the Le Merchant character. And needless to say, there’s absolutely no explanation of how Winter is able to revive the dead, though in a movie series where people use a puzzle box to summon demons who promise pleasure and pain but only deliver on half their promise, I suppose worrying about the unexplained ability of one guy to revive dead Rumanian goth kids is a bit petty.
And there’s also the problem of the ending. While I appreciate the bleakness of it, it’s also pretty poorly thought out. It feels as if they had themselves a decent enough supernatural horror movie, did a fair job of tweaking it into a Hellraiser movie, then had no idea at all how to bring it all together in a cohesive, satisfying finale. It’s not enough to tank the film by any measure, but it is a shame they couldn’t pull the thing together.
I said with part five that I didn’t mind the rarity of Pinhead and the Cenobites in these sequels provided the surrounding movie was interesting enough to put off their appearance until the end. Five was. Six was not. Seven is back to being interesting enough to survive without Pinhead and his entourage making themselves known until the very end (minus the occasional appearance in a dream within a dream within an hallucination).
What we have here is an able cast, some great location work that takes advantage of the oppressive cityscapes and urban decay, and a plot that, while hardly perfect, is at least good enough for its running time. Kari Wuhrer is solid in her role and puts effort into it, and most of the supporting cast is either able or bad in that familiar way foreign extras are bad in English language films. That’s something I’ve long since learned to live with. I liked this one.
Which is good, because I’ve also seen part eight, and…well, let’s leave that suffering for the next review.
Ehh, ya lost me, Hellraiser. I was with you through part five. I mean, sure, part three was pretty stupid, but it was enjoyably stupid. And I thought that parts four and five put you back on track. But the wheels sort of come off the wagon with part six. As with part three, this one promises us something big then never delivers. With part three, it was “pinhead wages war on earth!” That meant that Pinhead caused some manholes to erupt on a backlot set. This time around, we’re promised the return of Kirsty (Ashley Lawrence), the woman who battled the Cenobites at their meanest in the first two films. What we end up with is a cameo appearance that is so wrong-headed it’ll make you happy it’s only a cameo appearance. The only person in this film less than her is Pinhead. Where as part three was hilariously bad, this one is just dull and lifeless.
When I reviewed part five, I said I actually like having Pinhead be an ominous presence throughout the movie with his actual appearance reserved for when it really matters. But that only holds true if you operate under the assumption that the rest of the movie is filled with other weird stuff building up the final reveal of Pinhead set to his obligatory “Pinhead has revealed himself!” blast of bombastic orchestration. Part five, I thought, did that, giving us a gruesome serial killer movie with surreal Cenobites and oddness sprinkled throughout. Part six is basically that movie again, but instead of a disillusioned cop and creepy Cenobite chicks, it’s a douchebag in an office cubicle.
Hellraiser V: Inferno marks the point where the series officially became a direct-to-video franchise (people claim Bloodlines was released to theaters, but I don’t remember ever seeing it in one). It marks the departure of Clive Barker in any capacity whatsoever other than source of the original movie. It also marks the arrival of a new screenwriter and a new approach to what was, by then, becoming a pretty stale formula. The people behind Bloodlines must have recognized the moldiness of the central concept as well, as they tried to do something a little different with it, then ultimately tried simply to end it by setting up the final battle between Pinhead and those he would rip apart with spiky chains.
But final confrontations have never successfully put down a lucrative horror franchise, and even if public interest in the series was waning, horror fan interest was more than enough to sustain another movie. so what do you do when the previous film killed off your main villain? Well, you thank whatever hell Pinhead comes from that the movie was set in the future, which means you an spend the next hundred years making sequels that take place before that eventual final outcome.
I was set to into part five all ready to think the movie was total garbage. It seems to be a pretty polarizing film, and in my opinion, a fairly well misunderstood and misinterpreted film. I was taken by surprise when I ended up really liking this offbeat entry, both for what it accomplishes and for what it admirably tries to accomplish but fails. Franchise films have to walk that thin line between “same old, same old” and doing something different that is “too different.” Many fans of the Hellraiser series felt that Inferno went to far to the side of “different,” but I think those departures from what is perceived to be the tortured soul of the Hellraiser stories are only superficial. In fact, I’d go so far as to say that this is the closest film in spirit, if not execution, to the original.
Inferno begins with the story of corrupt but not entirely irredeemable Denver cop Joseph Thorne (Craig Sheffer, Nightbreed) investigating the gruesome murder of an old acquaintance. At the scene of the crime, Thorne finds the now iconic Lament Configuration puzzle box and takes it with him. We soon learn that Thorne’s life is a mess. though he has a nice home, a wife, and a child, he’s also addicted to the dark side of life that his job as a homicide cop exposes him to. Thus he takes drugs, carouses with the healthiest, hottest streetwalkers I’ve seen in a long time, blackmails and abuses people, and isn’t above the occasional frame-up. He’s never truly despicable, though, but rather is simply a man who seems to possess a need to wallow in the filth from time to time. Although he loathes much about he life, he also seems addicted to it. In other words, there is nothing really that keeps him from having a better life; parts of his life are awful because he wants them that way, despite what he may say otehrwise.
Shortly after discovering and accidentally opening the box (though Pinhead maintains that the box is never opened by accident), he finds himself suffering on two different fronts. On the more comprehensible side, he becomes involved with a case in which someone known as The Engineer has kidnapped a child and uses the child’s fingers as a calling call left at the scene of other murders. On the slightly weirder but no less gruesome side, Thorne is suddenly suffering bizarre hallucinations and dreams in which he is stalked and occasionally licked by a pair of semi-faceless female creatures with long black tongues and their friend, the deformed faceless white humanoid with no lower torso. We recognize them as Cenobites, and for the first time in a while, a Hellraiser movie has delivered Cenobites that are truly creepy. Like something straight out of Silent Hill, they seem still to be trying to make up for Camcorder-Head, and this trio is so effective that I say to Hellraiser, “Apology accepted.” I won’t mention Camcorder-Head again.
Needless to say but about to be said anyway, the dreams and the case will become increasingly connected, and it soon looks as if Thorne himself might be committing the murders. He seeks the advice of police psychiatrist played by James Remar, and all I could think of at first was, “Man, I can’t believe it was the fifth movie before James Remar showed up in one of these.” He’s a little more open to the battier end of Thorne’s stories, seeing as he has previous knowledge of the Lament Configuration and what it can supposedly do.
So you may notice that, up until this point, Pinhead has been most noticeable by his absence. This is one of the things that irks a lot of people, but I welcome it with open arms. Although they did some rehabilitation in part four, Pinhead was overexposed and poorly used in subsequent Hellraiser films. Inferno goes the route of being about the tortured soul rather than the torturer, and I thought it was a nice change. Pinhead’s presence looms over everything, since we as viewers know that he has a hand in everything that is happening, but he doesn’t make an actual appearance until the end of the film, where he belongs.
On the surface, this feels like a grim, somewhat averagely written serial killer cop procedural that had a Hellraiser movie grafted onto it to help rental numbers. I think that’s short-chaning the film, though. Another criticism is that the movie gets Pinhead all wrong, presenting him when he appears as sort of a karmic judge who doles out a moral about selfish living. Again, I think this is missing the point of what happens. By part three, Pinhead’s approach to damnation was pretty tired. Someone opens the box, Pinhead shows up to deliver a few lines about flesh, then he shoots the hooked chains into you and tears you apart. There’s no realization of the theory behind what he does, that the punishment should be as exquisite as it it is painful. here was a singular lack of imagination in the chain gag after the first couple times. The way I read part five, everything that happens from the moment Thorne first opens the box is part of Pinhead’s torture of the man. Only instead of just stepping out of some lighting effects and whipping him with chains, Pinhead constructs a scenario in which Thorne is plunged into the depths of everything to which he has an addiction — drugs, a macabre job, corruption — and finally offered a chance at redemption. When he takes it, Pinhead shows up not to deliver a sermon about selfishness, but to reveal that the chance for redemption never existed in the first place. Isn’t that a far worthier form of torture — to send a man to the depths, offer him a chance at salvation, then reveal that salvation is just a mirage — than just falling back on the hook gag again? The gradual temptation and breakdown, the exploitation of weaknesses and vices, allowing a man to wallow in his faults and take a sick pleasure in them (even the child abduction case is the sort of thing that thrills Thorne just as much as it disturbs and disgusts him) even as they’re destroying him — aren’t these the things we expect from Pinhead? Leaving a person with a complete and utter sense of inescapable desolation after giving them a taste of redemption? That is exquisite suffering.
I really liked this one. It’s not a perfect film, but few films are. The acting is generally good, the direction a bit small-scale but competent, and the story is a combination of the fresh and the stale, sometimes smartly delivered, other times awkward. The Engineer case drags on perhaps too long toward an obvious conclusion, and the bizarre kungfu cowboy scene feels like it was edited in from a completely different movie. But the positive outweighs the negative here. This is a much more thoughtful approach to the idea of damnation; you get three genuinely creepy Cenobites; and there are some pretty good setpieces, like Thorne’s greenlit living room with it snowing inside, danglign chains, and his wife and daughter strapped to that rotating slab of stone. And Pinhead is actually a figure of diabolical menace — sort of the “final boss.” It didn’t really make sense to me that every time someone opened the box, they instantly got Pinhead on the line. He is the architect of the pain, leaving it up to the victim to do the actual inflicting — at least until the very end, when the hooked chains come out. He should be, and in this is, the guy to whom you work up. He should be, at least at this point in the series, the guy who shows up at the end to wrap everything up and rob the characters entirely of any hope they may have once had.
It’s nice to get a movie like this, one I go into expecting to hate but end up liking a lot. It’s much better than the other way around, when I expect to love something and it ends up being Saazish. At the same time, I can’t help but wonder if Pinhead isn’t setting me up, giving me hope just so he can take it away and relish my suffering in part six. Well, I guess I understand those whoa re tempted by the incomprehensible pleasures and pains and pains as pleasures that the Lament Configuration represents, because despite my hesitation, even as I sit here writing this, I am making plans top open the puzzle box hell that is Hellraiser VI.
The third film in the installment represents the point at which I originally stopped watching. This one represents the point at which I stopped being aware at all that they were still making Hellraiser films. Tagged by many as “Hellraiser in space,” it just seemed to silly at the time, and it came during a time when pretty much everyone from Jason Vorhees to Leprechaun was getting shuttled off into space (though I suspect this film drew inspiration less from them and more from Event Horizon). Years after the fact, I actually find the idea of Hellraiser expanding out into space to be a fairly promising, if underealized in this film, premise that lends the series a bit of Lovecraftian cosmic scope. Potential aside, however, Bloodlines fails to hit the mark, though it turns out it’s not nearly as bad a film as I originally assumed it would be.
The action skips back and forth through time, beginning in the future with an engineer (Bruce Ramsay) who has designed a space station with the sole purpose summoning and permanently trapping Pinhead and his Cenobites. Unfortunately, just as the Cenobites make their appearance — and thankfully,we’re back to a more authentic line-up, with Camcorder-Head and CD-Head being left on the scrapheap of the third film — stanrd issue space marines storm the facility, halt the experiment, and demand to know what the hell the engineer is up to. And so kicks off his lengthy tale, which takes us to 18th century France where we meet his ancestor, the toymaker — and the original designer of the maligned Lament Configuration puzzle box that has caused so many people to have their skin pulled off by hooky chain things.
The toymaker doesn’t realize at first exactly what it is he’s been commissioned to make by a twisted Marquis DeSade style nobleman who longs to indulge himself in the pleasures and pains that exist just beyond the reach of our dimension. He soon finds out, though, and in his mad struggle to undo what horror he has brought into the world, the toymaker assures that all those of his bloodline will be motivated, either consciously or unconsciously, to seek out the box and devise some way to destroy it.
The first demon called forth from the box isn’t any of the Cenobites we know and love, but is instead a more standard issue succubus type named Angelique (Valentina Vargas). Just as the toymaker’s bloodline carries the innate desire to undo the box’s making, she exists through the ages to protect it and see that it gets used. Which takes us to 1996, when we learn tat one of the toymaker’s descendants is the architect who designed the Lament Configuration-inspired building we see at the end of Hellraiser III: Hell on Earth. Like his ancestor, he has no idea at first what he’s done, but the memory of blood begins to kick in once the she-demon shows up, and before too long, he’s struggling with his own creation while trying to protect his family from the destructive forces the design unleashes. Which means it’s about time for Pinhead to show up, and this time he’s brought better Cenobites, including his very own hound of Hell.
His story brings us back to the future, and the marines’ quickly learn the bloody price of their intervention in the trap. We get a fairly standard Aliens-inspired “marines walk around in dark corridors and get killed in gruesome ways” sequence before the engineer finally settles in for what they bill as the final show-down between good and evil.
This movie’s failings aren’t in what it does, but rather in what it could have done. There’s a lot of potential that gets squandered, either because they didn’t have much imagination or because they just didn’t have the cash to realize the epic scope of the story at which this film hints. The space station is a suitable progression for the series, and it lends a desolate air of isolation and melancholy on top of the usual talk about flesh and suffering. Something about Pinhead against a backdrop of cold metal and circuits is more chilling than seeing him try to be menacing while standing in someone’s well-appointed living room. I think the concept of demons from another dimension works well with the outer space setting, given how little we know of space and how vulnerable we are while in it. And I like the idea of technology advancing to the point where it can mess with the design of the box. The engineer uses a robot, for example, to open the puzzle box, and when the Cenobites first appear, they seem genuinely confused.
The other time periods are well-realized as well. The French bit conjures up a nice, if low-scale, Hellfire Club sort of atmosphere, and the parts set in 1996 avoid the banality of a 1996 setting by having the action take place mostly in the bowels of the bizarre building our protagonist has constructed. And did I mention that there’s no sign of the Camcorder-Head Cenobite with the one-liners and the mustache? After descending into wisecracking parody in part three, the Cenobites pull back a little bit and return to a relatively serious state. Plus, Pinhead gets his best line in the whole series (Merchant: “And what do you have faith in?” Pinhead: “Nothing. I am so exquisitely empty.”)
Unfortunately, these ideas remain half-baked or merely hinted at, and it’s that failure to be what it could have been that prevents this movie from being one of the best entries in the series. Instead, it is merely good, with some nice shocks, a tepid lead, fair writing, and the usual quality performance from Douglas Bradley as Pinhead. Actually, the acting this time around is a quantum leap up from the awful stuff we saw in the last film. Skipping back and forth through time works well, and the revelation as to the origin of the box, while uninspired, isn’t terrible. I was able to role with it better than I was the “Pinhead discovers his human side” bit from the second film.
With more money and just a little bit more time to expand on ideas presented in the script, this could have been one hell of a movie. But we can only review what he have in the end, and that’s a movie that I think is a definite step up from the sublimely idiotic part three, with better actors, a better script, and a creepier atmosphere. First-time (only time) director Kevin Yagher had a more epic — and apparently more graphic — vision of what this film should have been as well, but he and the money men could never get on the same page. Thus the film was edited without his input, and he felt the need to make this an Alan Smithee film. Bloodlines also marks the end of Clive Barker’s involvement with the series, though it’s questionable how much the “executive producer” had to do with part three, as it does mark the final contribution of Peter Atkins, who’d been scripting the movies since part two. Part four feels more in line with the first two movie while falling just short of the mark that would have made it a truly worthy sequel. All in all, though, I feel my suspicions toward this film were largely unfounded.
So when you’ve taken Pinhead to the ends of outer space, where do you go from there?
Back when I was little, parents used to teach you things by letting you do something stupid, and then hoping that the consequences of what you’d just done would inform you as to why you should not have done it in the first place. A minor burn from a hot pot or open fire was a far more effective way of teaching a kid not to touch hot things than simply telling them. I, unfortunately, am an idiot, and even to this day, when I see fire, my initial reaction is, “Man, I bet I could catch it this time!”
Similarly, I’ve never learned that doing a marathon viewing of an awful movie series is never as funny an idea as I think it is. This started back in college, when my roommate and I thought it wold be hilarious to watch all the Porky’s films in one sitting. The sickness continues to this very day, with no lesson learned in the interim despite ample experience to teach me. And so I found myself one day sitting around with a stack of Hellraiser movies.
I, like many people, loved the first two Hellraiser films, and as they garner some modicum of respect, I decided it was best to skip over them and go directly to the one featuring a wisecracking Cenobite with a video camera embedded in his head. Hellraiser III: Hell on Earth represents a quantum leap downward from the first two films — disappointing not just because of the drop in quality, but also because this was supposed to be something of a “Pinhead and crew run wild on Earth” scenario. In reality, the rampage through New York City of these demons called forth from another realm by way of a cursed puzzle box ends up looking more like Jason’s five minute jaunt through Manhattan in Friday the 13th, Part 8.
For those who don’t know the Hellraiser story, here it is in a nutshell: a long time ago, someone made a puzzle box. The box happens to be a key to opening a door to Hell, and out of it come creatures known to fans as the Cenobites. The Cenobites, lead by the now iconic Pinhead, are dedicated to pushing the humans who summon them into the extremes of pain/pleasure, something that is usually expressed via hooked chains shooting out of the ether and ripping the person apart — which always seemed to me to be a bit of a gyp in terms of the pain/pleasure ratio, but I guess that’s what you get for fooling around with an undead guy whose head is covered in pins.
At the end of part two, the Cenobites were defeated, the puzzle box lost but that didn’t last for very long. Part three picks up with a skeevy young guy who owns the most ridiculous combination of fancy five-star restaurant playing “String Quintet In E Major, Op.13, No.5 – Minuet” and fake industrial goth club decorated with S&M teddy bears. He buys a horrific sculpture that we know to be the current prison of Pinhead. Meanwhile, plucky young reporter Terry Farrell is trying to make a name for herself. When at a hospital, she stumbles upon a screaming young man embedded with hooked chains. He eventually explodes, and this puts her on the track leading to the goth club, which is supposed to be the most awesome underground goth club ever, except that it’s full of early 1990s frat guy types.
Eventually, of course, Pinhead will be released from his prison and, after creating a new army of Cenobites to replace the ones he lost last movie, he will go on the aforementioned rampage through New York, which means he mostly goes on a casual stroll through a deserted movie set and makes some manhole covers blow up.The reporter will have to team up with the ghost of Pinhead’s former self in hopes of defeating the lord of Hell in a fairly unmemorable final showdown.
It’s all pretty tepid stuff, but it’s still watchable despite being such a letdown. Pinhead at least gets to massacre a club full of fake movie goths, so I guess that counts for something. But mostly, the whole thing is just a letdown. Pinhead’s new Cenobites are completely ludicrous and possess none of the menace of the previous batch. Instead, this time around, we got a guy who throws CDs at people and a guy with a video camera in his head — and a mustache! What the hell kind of a demon has a droopy Southern rock mustache? This is ground zero for the Cenobites being transformed from creatures of evil and terror into wisecracking goofballs.
The acting is almost uniformly terrible with the exception of Douglas Bradley, the guy who plays Pinhead. But even Pinhead doesn’t escape completely unscathed, as he is put through a number of ham-fisted “shock” scenes, such as the completely ludicrous bit that takes place in a church and has Pinhead assuming “The Jesus pose.” We get it, we get it! It’s ironic!
Terry Farrell was a couple years away from fame and the lust of sci-fi nerds everywhere thanks to her role in Star Trek: Deep Space Nine, and she’s pretty terrible here. At least she’s in like company. Still, despite all that, the movie manages to be watchable and even entertaining in a pretty lame way. There’s still some decent scenes, a fleeting vestige of “that ol’ Hellraiser magic,” Pinhead is in decent form, and if nothing else, it’s a lot better than what Hellraiser would have in store for us later on down the road.