
Hellraiser (1987)
A modestly budgeted horror with memorable cult impact, fantastically realised by writer, director Clive Barker. It's sadomasochism, blood and gore influenced many films to follow. The music complements the claustrophobic atmosphere and adds to the films tension. 80's poor lightening visuals aside the practical effects are excellent, including skinned, pinned and mutilated people.
Hellraiser is creepy, bloody and eerie. It's just a shame that neither this or any of the sequels capitalise on its greatest assets, that is Frank and Pinhead.
Hellbound: Hellraiser II (1988)
Hellbound: Hellraiser II (1988)
It's no surprise it was released the same year as Phantasm II, Friday the 13th Part VII and A Nightmare on Elm Street 4, having one of horrors most surprising memorable and bankable protagonists. However, Hellbound borrows some elements from A Nightmare on Elm Street 3: Dream Warriors (1987) and feels as if it had money thrown at it and was rushed to capitalise on the success of the first.
There's plenty to enjoy, the dark oozing blood effects, the return of almost all the original cast and of course the Cenobites and Pinhead himself. The music is fantastic, as too are the costumes and SFX. That said, the story is disjointed on occasion causing it to feel longer than it's running time, almost never-ending with one crescendo after another.
Overall, compared to the first and traditional movie styled Hellraiser third Hellbound: Hellraiser II is average and hellishly overrated.
Hellraiser III: Hell on Earth (1992)
Hellraiser III: Hell on Earth (1992)
Clive Barker is absent from a writing role which leaves Peter Akins to take up the reigns and to his credit this screen-play connects the previous films via various flash backs and recordings. However, the story follows a more linear narrative than it's predecessor. Follow up Hellraiser III: Hell on Earth
swaps the grittiness of the modestly budgeted first for a glossier grander slicker 3rd. Pinhead is given more story, dialogue and exposition - possibly to appease a wider audience.
The special effects (although now dated) are digestible and oddly even though this film was made in 1992 it feels late eighties. Director Anthony Hickox competently delivers an entertaining instalment despite the choppy editing, lack of tension and gore. Nevertheless, there are enough dream sequences, dead bodies and bloody scenes to keep most chill seekers happy until the explosive final act.
Overall, in a traditional movie sense Hellraiser III is arguably a very strong sequel and the viewer is left with tantalising closing scene, but in retrospect the concept is an empty promise.
Hellraiser IV: Bloodline (1996)
Hellraiser IV: Bloodline (1996)
This instalment of Hellraiser follows the bloodline of the creator of the puzzle box, the 'Toy Maker,' and his plan to summon and destroy Pinhead forever.
Despite a theatrical release, Bloodline looks and feels at times like a TV movie, and the acting is occasionally below average, possibly due to the script. That said, Doug Bradley is fine as Pinhead, and Valentina Vargas (In the Name of the Rose) is noteworthy as the demon Angelique. Channelling Meryl Streep, Kim Myers (Nightmare on Elm Street 2: Freddy's Revenge) is great, but her screen time is sadly limited.
The story's concept is quite good and includes (one assumes) the building in the third installment and the history of the box. It is told in flashbacks by Dr. Paul Merchant in the year 2127 and follows his descendants, Phillip L'Merchant in the 18th century and John Merchant in 1996. Sadly, it's poorly executed and let down by an uneven screenplay, bland direction, and sub-par sets. The effects are a mixed bag; some are well done, while others are less convincing and tame. To its credit, it does have atmosphere, helped by the score.
It appears to have a troubled shooting history, as there were two directors: Kevin Yagher (under an alias Alan Smithee) and Joe Chappelle (uncredited). This may be one cause and result of such an unsatisfying fourth installment.
Overall, the producers didn't give such a bankable character as Pinhead the attention he deserved, leaving the viewer as empty as the 22nd-century space setting. Nevertheless, it has its moments, but won't tear your soul apart.