I actually find the idea of Hellraiser expanding out into space to be a fairly promising, if under-realized 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.
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.
Clemens vision for a film series was pretty cool, with Kronos appearing throughout different periods across the centuries, carrying on his battle with the undead and revealing that there was a much longer history behind the man than has hinted at in the first movie.
In fact, judging from the man’s writings alone, I’d imagine that any attempt by him to describe any normal type of human sexual congress would be one of the most excruciatingly awkward, squirm-inducing things you could possibly read.
AIP was certain that making the connection to Corman’s previous Poe films was the way to go, so at the last second, and in the final frame of the film, they had Price read a couple lines from the poem.
The shame here — or at least one of the many shames — is that, with films like Nagin and the original Jaani Dushman, Raj Kumar Kohli demonstrated a genuinely quirky sensibility, while at the same time proving that he could draw in a popular audience. Jaani Dushman: Ek Anokhi Kahani, on the other hand, demonstrates the culmination of a gradual grinding down of that sensibility.
It’s really one of Hammer’s most impressive, quirkiest efforts. Regardless of how bad things were for Hammer in the 70s, the movies that came out of it were usually very good and very interesting.
Granted, stories about murderous frog men lurking in the center of a hedge maze may seem like a strange bedtime story, but I was a strange kid, and anyway, children’s bedtime stories used to be all full of cannibalism and witches and trolls who steal the fingernails of naughty little boys and girls who don’t eat their stinky boiled kale.
Event Horizon is an almost great movie that loses its way and relies on too many scenes from other movies and too many cheap jolts.
Hausu also benefits greatly by comparison to contemporary Japanese horror movies, which typically suffer from their makers’ grim determination to make every moment pregnant with ominousness and foreboding–with the end result being films that are pretty much uniformly tedious and annoying.