See, here’s the thing about Kari Wuhrer: I don’t know what the thing is with Kari Wuhrer. There is very little in the career or Kari that I’ve liked, and yet I usually watch whatever goofball piece of junk in which she appears. 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.