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Editorials

A Waste of Good Suffering: The ‘Hellraiser’ Franchise [Part 2]

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In “Part 1” of our retrospective on the Hellraiser franchise we chronicled the impetus for Clive Barker’s decision to move from author to filmmaker. The focus was placed solely on the first four films in the series, all of the theatrical releases. When we left off, Dimension Films had “Harvey Scissor Handed” Hellraiser: Bloodline so much in post-production that director Kevin Yagher ultimately had his name removed from the final cut. The film was ultimately a box-office failure and future prospects for the franchise seemed grim. From here on out the Cenobites have languished in direct-to-video hell.


Hellraiser: Inferno (2000) – From Sadomasochism to Moral Guardian

Hellraiser: Inferno

IMDb Plot Synopsis: “A shady police detective becomes embroiled in a strange world of murder, sadism and madness after being assigned a murder investigation against a madman known only as ‘The Engineer’.”

Clive Barker has gone on record saying he was practically shut out from the offices of Dimension at this point. He was eager to return to the franchise and help build toward a proper end for the horror icon he helped create, but it wasn’t to be. Over the years, The Suits continued to hear various pitches for how to bring Pinhead and his leather-clad minions back to the screen. One concept that gained traction was Hellraiser: Hellfire, an ambitious screenplay from publicist and editor Stephen Jones along with author Michael Marshall Smith. Their concept would see the return of a mentally unstable Kirsty and a cult with past ties to Pinhead and the Cenobites, all culminating with a mass of underground tunnels forming a giant Lament Configuration across London that would see Leviathan himself attempting to break free into our world.

Ultimately, this proved to be much larger in scope than the concept Dimension ending up greenlighting. Fresh out of film school, Scott Derrickson along with writing partner Paul Harris Boardman, pitched a noir-style detective story set within the Hellraiser universe. The Weinsteins were impressed and commissioned the script. When Derrickson (who has gone to quite the lucrative filmmaking career with Sinister and Doctor Strange) showed his interest in directing, he was given $10,000 and tasked with filming a scene from the film. Apparently, what he came up with was impressive enough that he landed the gig directing Hellraiser: Inferno.

Interestingly, despite Derrickson’s insistence that Inferno was an original Hellraiser script, Doug Bradley has claimed otherwise. He has stated it was a pre-existing detective story that was retooled to feature Pinhead and the Hellraiser iconography. Bradley’s recollection of events is easy to believe when one looks at the finished product. Much of the established mythology goes out the window in this sequel, and we are treated to a Lynchian, Jacob’s Ladder style psycho-thriller that manages to incorporate the puzzle box and Cenobites by way of nightmarish visions inflicted upon our lead (played by Craig Schaffer of Nightbreed fame). In the end, Pinhead stands as a character intent on passing moral judgment against our lead and his past sins, which is a much more traditionally Christian viewpoint for the character than Barker ever intended. Nonetheless, with a reported budget of less than $2 million and a straight to video release with limited marketing spend, Inferno apparently made Dimension enough money to warrant another trip down similar territory.

Critics Said:

“Once again, the sequel-mongers have destroyed a series with solid potential, all in the name of a quick buck. Pinhead deserves a hell of a lot better than a cameo role in a third-rent cable movie.” – Scott Weinberg, eFilmCritic

“There’s enough morbid imagery here to satisfy the ‘Goth’ in all of us, enough gore to quench the thirst but not enough Pinhead to call this a Hellraiser flick.” – John Fallon, Arrow in the Head

Cenobites Featured: Pinhead, Wire Twins, Torso


Hellraiser: Hellseeker (2002) – The [Tepid] Return of Kirsty

Hellraiser: Hellseker

IMDb Plot Synopsis: “A shady businessman attempts to piece together the details of the car crash that killed his wife, rendered him an amnesiac, and left him in possession of a sinister puzzle box that summons monsters.”

Rick Bota was a cinematographer working consistently through the 90s when he got the chance to tackle 2nd unit for a number of Dimension Films’ productions (Mimic, They). This landed him in the right place at the right time to essentially take over the reigns for the next several Hellraiser films. Dimension hired Carl V. Dupre and Tim Day to put the script together for what would become Hellraiser: Hellseeker. The two writers were confessed fans of the franchise and included several nods to the previous films throughout their screenplay: the main character’s workplace was called Cubic Route, a dog named Cotton, among others. They even envisioned bringing Ashley Laurence back to reprise the role of Kirsty. Unfortunately, the producers couldn’t get intouch with the actress during the entire pre-production period. They eventually gave up on the prospect of bringing her back and rewrote the script, yet decided to leave the character’s name the same as added nod to fans.

Once Bradley sat down with the script, he was pleased with what he read and excited by the idea of sharing the screen again with Laurence. Bradley offered to contact her personally to see if she’d be interested in reprising her role. Thankfully, Laurence was ecstatic by the idea. The only problem was there was very little time before shooting to actually re-rewrite the script to tie Kirsty as we’d known her back into the narrative. Having great faith in Bradley’s abilities, Bota entrusted the Pinhead actor to take a pass on the duo’s climactic confrontation…most of the newly added material from Bradley ended up on the cutting room floor, however. Though, it should be said, it does exist as a special feature on certain releases.

Despite the reverence for Hellraiser canon that was exhibited by the creative minds behind Hellseeker, it still winds up feeling more like Inferno than any of the previous sequels. Hellseeker is another “what’s reality?” nightmarish trip through Cenobite torture-land, thus solidifying the general direction most future sequels would adhere to. Thankfully, against the wishes of Dimension execs, Barker was given a chance to screen a workprint and provide his opinion on how to help shape and perfect the third act of the film. Hellseeker stands as the last film of the franchise to feature input from Barker in any shape or form.

Critics Said:

Hellseeker is competent on a base level and fans will enjoy a few grotesque visuals, but in total the movie serves no real purpose other than to extend a series that’s worn down its welcome.” – Martin Leibman, Blu-ray.com

“This one is certainly a mixed bag as it’s quite watchable and has lots of screwy visuals; despite the fact it feels a little off-kilter and for the most part doesn’t make much sense.” – The Video Graveyard

Cenobites Featured: Pinhead, Chatterer III, Surgeon, Bound, Stitch


Hellraiser: Deader (2005) – The Cult of PinheadHellraiser: Deader

IMDb Plot Synopsis: “A journalist uncovers an underground group who can bring back the dead and slowly becomes drawn into their world.”

A pre-existing script entitled Deader by screenwriter Neal Marshall Stevens was sold to Dimension after his Thir13een Ghosts remake went into production (and before he was relegated to mostly Full Moon titles). It seems his original script was a complex tale that dealt with the “Deader” cult who found a way to bring people back to life and a seedy, hallucinatory dark underworld that our lead reporter ultimately gets entangled with. When it was determined that Deader would become Hellraiser: DeaderTim Day was brought back in to rewrite the script with Hell in mind. Stevens, not being privy to the rewrites, was quite shocked and displeased to see the changes once he received a copy of the shooting script for review.

Deader is ultimately the first of TWO Hellraiser films to be released in 2005 (despite filming in 02′). Seeing an opportunity to cut costs, execs had Bota and crew head to Romania to film the back to back sequels. They even tried to convince Bradley to work on both films while only paying him one fee. Thankfully, Bradley managed to strike up a proper deal with Dimension, and he signed on for both productions. Communication on set was difficult as a majority of the crew and talent were made up of Romanian locals. Bota was able to rely on Gary J. Tunnicliffe who had been steadily working on the makeup and special effects since Bloodline. He was now given more responsibility as he took on duties directing 2nd unit…a sign of things to come.

Critics Said:

“Fans of the films may still cry foul and demand more screen time for Pinhead, but for those of you willing to take the time and open the box, your explorations will lead you to a smartly written blood-drenched scarefest that at times is truly creepy.” – Steve Barton, Dread Central

“Pinhead’s cameo appearance will surely turn off Hellraiser fans, while horror buffs are stuck with a film that isn’t even remotely scary. ” – David Nusair, Reel Film Reviews

Cenobites Featured: Pinhead, Chatterer III, Surgeon, Bound, Stitch


Hellraiser: Hellworld (2005) – Game Over, Pinhead!

Hellraiser: HellworldIMDb Plot Synopsis: “Gamers playing a MMORPG based on the “Hellraiser” franchise find their lives endangered after being invited to a rave, the host of which intends to show them the truth behind the Cenobite mythos.”

Hellraiser: Hellworld was the second film of the Romanian package deal spearheaded by Dimension Films and director Rick Bota. The main issue, however, was there was no script for Hellworld. Even amidst production for Deader and looming start date for the next film, they weren’t exactly sure what film they would be making. One of the producers stumbled upon a treatment from Joel Soisson (producer for almost anything Dimension Films). The treatment dealt with the idea of drug-induced suggestion which Soisson described as his “worst nightmare.” Thinking fast, Bota called upon the other screenwriting half of Hellseeker, Dupre, to whip this treatment into a full-blown shooting script…with Hellraiser stuff thrown in, of course. Two weeks later, Dupre finished a draft of Hellworld that showed obvious influence from the Scream series. For the first time, a Hellraiser film was dealing mostly with an all “teenage” cast who exist in a world where Hellraiser is nothing more than a part of an online RPG game. The meta touches are everywhere.

One of the more interesting aspects of Hellworld in retrospect was the up and coming cast they managed to wrangle at the last minute. A fresh-faced Khary Payton (The Walking Dead) was coming off a role in another DTV Roamania-lensed sequel, Dracula II: Ascension. He was a no-brainer for Bota to be a part of the cast. Not to mention, his decapitated head from that film could easily be repurposed for this one. There was also Henry Cavill (you know…Man of Steel) and Katheryn Winnick (Vikings) alongside genre vet Lance Henriksen who met Bota by chance in Romania, fresh from the set of Mimic 3: The Sentinel. Hellworld has surprisingly built up quite a fanbase over the years, keen they are on the film’s self-referential, early aughts’ kitsch. The film itself breaks so many of the franchise’s rules, it’s hard to look past, even if that is part of the story it’s trying to tell.

Critics Said:

“I’d say that you should watch this if you’re looking for an absurd “so bad it’s good” horror comedy, but, honestly, still don’t. Watch something else.” – Ben, Bloody Good Horror

“Director Rick Bota and screenwriter Carl V. Dupré brought their A game with inventive little twists and shocks all throughout the gory proceedings.” – Staci Layne Wilson, About.com

Cenobites Featured: Pinhead, Chatterer III, Bound II


Hellraiser: Revelations (2011) – Bradley Steps Down

Hellraiser: Revelations

IMDb Plot Synopsis: “Two friends discover a puzzle box in Mexico, which unleashes cenobite Pinhead.”

The tale of Hellraiser: Revelations has been well documented, so we won’t be lingering on it too long here. The option to continue releasing Hellraiser films was stipulated by a clause that a new film go into production and be released every few years. If the set time-frame were to lapse, the rights would revert back to the previous owner (presumably TransAtlantic). Now, for a franchise that hasn’t been given the royal treatment, it would seem Dimension might not be too concerned over losing the brand, but they were (until more recent issues) still actively pursuing the idea of a larger budget theatrical remake amidst all of these DTV releases. A string of writers and directors have pitched for the eventual reimagining, including Clive Barker who actually wrote a draft and submitted to the studio some years ago.

Nonetheless, much the same reason the upcoming Judgement went quietly into production, Revelations was the epitome of a rush job. Filmed for around $200k, shot in under two weeks, and working from the rough draft from longtime Hellraiser creative force, Gary J. Tunnicliffe – Revelations was a mess. Doug Bradley infamously refused to return once he understood the conditions of which the film was being put together. For some, it at least attempted to return to the original flavor of the series and abandoned the more Lynchian tones brought into the latter sequels. It was far too underbaked to make much of a lasting impression, however.

Critics Said:

“Worthless, contractually-mandated greed on film.” – Scott Weinberg, FEARnet

Yes…I managed to find a positive review…

Hellraiser: Revelations is a nifty and emotional[y] strong sequel that could have needed some more time fixing the slightly corny dialogue and a bit longer shooting schedule to be perfect, now it’s just a good little DTV movie with more ambitions than money.” – Ninja Dixon

Cenobites Featured: Pinhead, Female Cenobite, Pseudo Pinhead


So, it’s been a long and somewhat tumultuous journey for the Hellraiser franchise. Great potential has certainly been squandered in some cases while moments of the pure terror promised in the first film have managed to shine through on occasion. Come February 13th, we’ll be diving into the newest incarnation of Pinhead via actor Paul T. Taylor. With Hellraiser: Judgment, Gary J. Tunnicliffe has finally gotten the chance to jump behind the camera and direct a new chapter in the enduring franchise. Only time will tell where depths of hell take us from here.

SIDE NOTE: Most of the info found for this article was pulled from The Hellraiser Films and Their Legacy by Paul Kane. It’s an exhaustive tome that covers the inception of Hellraiser through to Hellworld. It’s amazing the amount of detail Kane unearths from each of the different productions. 

Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

LEPRECHAUN

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

LEPRECHAUN RETURNS sequel

Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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