Movies
Review of Clive Barker’s ‘Hellraiser’ Remake Script Reveals His Approach
You may remember that back in 2014, Clive Barker was attached to remake his own debut feature, Hellraiser. In fact, he wrote a script and delivered it to Dimension Films back then, but of course, the film was never actually made. Instead, Dimension made new sequel Hellraiser: Judgment, which to date still hasn’t been released.
Nevertheless, Barker’s Hellraiser remake script is out there, and writer Rob Ridenour of the Clive Barker Cast just managed to get his hands on it. Over on the podcast’s website, Ridenour wrote a short review of the unused script this week, giving us some insight into Barker’s vision for the remake that never was… and likely will never be.
Interestingly, Barker’s script seems to stick pretty close to the original film, centered on the Cotton family and their hellish experience with Lemarchand’s puzzle box.
“The script opens on Devil’s Island in the 1700’s where toymaker Philippe Lemarchand is being held prisoner by an evil warden who wants him to finish building the infamous box—its design closer to The Hellbound Heart here—known as the Lament Configuration,” Ridenour begins his review. “Once done, Lemarchand only wishes to be free and return home to his family. The warden has other plans and wants Lemarchand to open the box, so he can show the toymaker what it does. Things turn quite grisly when a familiar lead cenobite shows up and wreaks havoc on the unsuspecting prison custodian.”
The review continues…
“The story then moves to present day Massachusetts where Larry Cotton, a college professor, and his unhappy wife Julia are moving into the “old homestead” along with Larry’s daughter Kirsty. Also, to their surprise Larry’s brother Frank has been occupying the upstairs attic for the past few months. Larry allows Frank to stay in the attic until he can get back on his feet. Little does Larry know, that Frank and Julia have been having an affair. These early parts of the script—other than Larry letting Frank live with them—stick very close to the basic structure of the original film, but Clive writes all this in a new way that makes the material feel fresh. Eventually, Frank opens the box and is torn apart during a ritual where he summons the Hell Priest which forces Julia to once again find him victims, so he can have a new skin.
It’s only when Kirsty escapes from Frank and steals the box, that this story really starts to develop its own identity. The sequences of Kirsty in the hospital are some of the strongest in the script. This is where Barker begins to introduce his new mythology and let Pinhead have some devilish fun.”
Be sure to read Ridenour’s full script review over on the Clive Barker Cast website, where he details two new Cenobites that Barker created for the unmade remake!
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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