Well, we’re almost towards the end of our coverage. Kind of. Today, we’re spotlighting two episodes that find the franchise at a crossroads in the aughts.

First up, we’ve got 2000’s Hellraiser: Inferno, the fifth entry of the franchise and first to go DTV.  The feature directorial debut of Master of Horror Scott Derrickson is readymade for an elaborate discussion, from aesthetic choices influenced by David Lynch, Jacob’s Ladder, and Silent Hill to the hit-or-miss cast led by a familiar face in Barker’s world: Nightbreed star Craig Sheffer.

Next, there’s 2002’s Hellraiser: Hellseeker, the sixth entry in the series from. Together, the gang plays with the puzzling, if not pretzeled, behind-the-scenes hell before diving right into the lake of fire with Mayhem, aka Dean Winters, and a familiar face in Ashley Laurence who may or may not actually be playing Kirsty. Eh, you’ll find out why…

Stream both episodes below. Subscribe via Apple Podcasts, Stitcher, Spotify, and RSS. New to the Halloweenies? Catch up with the gang by revisiting their essential episodes on past franchises such as Halloween, A Nightmare on Elm Street, Friday the 13th, Scream, The Evil Dead, Chucky, Alien, and the Universal Monsters.This year? Hellraiser!

You can also become a member of their Patreon, The Rewind, for hilariously irreverent commentaries (e.g. The Texas Chainsaw Massacre, Re-Animator, Darkman), one-off deep dives on your favorite rentals (e.g. Killer Klowns from Outer Space, Manhunter, ), and even spinoffs like their recent run Fortune & Glory: An Indiana Jones Podcast.

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Missed the rest of the season? Catch up below…

The post A Tale of Two Hellraisers: The Crossroads of ‘Inferno’ and ‘Hellseeker’ [Halloweenies Podcast] appeared first on Bloody Disgusting!.

The Halloweenies head deeper into Hell as 202666 unfolds. In the main feed, they’re covering the Hellraiser franchise. For their patrons, they’re opening the floor for The Omen series. The latter coverage has already begun — and you can stream the first episode on Richard Donner’s 1976 classic now  — but today sees the gang continue the Lament Configuration with 1988’s Hellbound: Hellraiser II.

Topics include: The Bride of Frankenstein-influence, the quick turnaround following the release of the original, the increased-but-still-low budget, all those beautiful matte paintings and stop-motion work, the sudden tonal shifts, staying true to the tenets of Barker’s work, and, in a completely natural tangent, just how “fucked up” and “dark” The Batman really is.

Stream the episode below. Subscribe via Apple Podcasts, Stitcher, Spotify, and RSS. New to the Halloweenies? Catch up with the gang by revisiting their essential episodes on past franchises such as Halloween, A Nightmare on Elm Street, Friday the 13th, Scream, The Evil Dead, Chucky, Alien, and the Universal Monsters.This year? Hellraiser!

You can also become a member of their Patreon, The Rewind, for hilariously irreverent commentaries (e.g. The Texas Chainsaw Massacre, Re-Animator, Darkman), one-off deep dives on your favorite rentals (e.g. Killer Klowns from Outer Space, Manhunter, ), and even spinoffs like their recent run Fortune & Glory: An Indiana Jones Podcast.

Facebook | Instagram | Twitter | Patreon | Store

The post ‘Hellbound: Hellraiser II’ Took Us Further Into the Labyrinth [Halloweenies Podcast] appeared first on Bloody Disgusting!.

The Halloweenies are heading to Hell for 202666. In the main feed, they’re covering the Hellraiser franchise. For their patrons, they’re opening the floor for The Omen series. The latter coverage has already begun — and you can stream the first episode on Richard Donner’s 1976 classic now  — but today sees the gang solve the puzzle box that is Clive Barker’s 1987 directorial debut, Hellraiser.

Topics include: the page to screen journey from The Hellbound Heart to Hellraiser. Barker’s humble beginnings and artistic arc, Christopher Young’s soaring score (plus, the original unused music by Coil), Bob Keen and the special effects team on the creation of demons the likes of which horror hounds had never seen, and what cenobites each Halloweenie might become.

Stream the episode below. Subscribe via Apple Podcasts, Stitcher, Spotify, and RSS. New to the Halloweenies? Catch up with the gang by revisiting their essential episodes on past franchises such as Halloween, A Nightmare on Elm Street, Friday the 13th, Scream, The Evil Dead, Chucky, Alien, and the Universal Monsters.This year? Hellraiser!

You can also become a member of their Patreon, The Rewind, for hilariously irreverent commentaries (e.g. The Texas Chainsaw Massacre, Re-Animator, Darkman), one-off deep dives on your favorite rentals (e.g. Killer Klowns from Outer Space, Manhunter, ), and even spinoffs like their recent run Fortune & Glory: An Indiana Jones Podcast.

Facebook | Instagram | Twitter | Patreon | Store

The post Clive Barker’s ‘Hellraiser’ Spawned a New Kind of Horror By Thinking Outside the Box [Halloweenies Podcast] appeared first on Bloody Disgusting!.

As someone who discovered Monsters only after it ended, I could at least see it on TV almost every day. Sci Fi Channel reran the series regularly, as well as hosted daylong marathons, the latter of which ultimately emphasized a small but noticeable issue with this anthology. Fun, breezy, and creative as it was, this show didn’t always prioritize scares—it was sometimes just plain unscary. That said, it was during one of those aforementioned marathons that I first saw “The Match Game“, my favorite episode from the entire run. This was unlike anything else I had witnessed in Monsters, and from there I was hooked.

In part, we have Christopher Orville, a story assistant from the last two seasons of Tales from the Darkside, to thank for this wonderful and rather anomalous episode. His simple yet fruitful idea was fleshed out by screenwriter David Chaskin (A Nightmare on Elm Street 2: Freddy’s Revenge, The Curse, I, Madman) and actor-turned-director Michael Brandon. Neither Chaskin nor Brandon contributed to the series beyond this instance, but their collaboration is, and for good reason, ranked highly among fans. In what is essentially a campfire ghost story gone horrifically wrong, “The Match Game” switched up the show’s formula. Instead of the characters coming across an existing monster out in the wild, they encounter one of their own making.

Monsters episodes worked on very low budgets, to say the least. This show, one that made extensive use of makeup and special effects, didn’t even have the resources of an average network sitcom back then. And while you detect those financial restraints in many episodes, “The Match Game” hides its shortcomings better than others. A limit on settings—a cost-cutting method carried over from Darkside—is in force here; however, this episode’s high amounts of near darkness and indirect lighting come together to form a production panacea of sorts. It’s the kind of dreadful and eerie atmosphere that money can’t always buy.

Rarely did Monsters stray far from the inside of a building or a room. On the contrary, “The Match Game” has more of a sense of the outside world as Hellraiser’s Ashley Laurence—who is credited as a “special guest star”—and Byron Thames give us a preview of their evening’s destination. And during their brief, daytime tour of an abandoned Victorian’s exterior, the two characters set up the episode’s ghost story within a ghost story. This run-down mansion is said to be haunted after its previous occupant died by the pond out back. Naturally, this wouldn’t be the last we hear of the dead man in an episode that, while not actually set on Halloween, feels perfect for Halloween viewings.

There’s no downtime as day instantly becomes night, and the story moves indoors and to a soundstage. Jodie (Laurence) and Paul (Thames) return to the house posthaste and meet their friends, couple Matthew (Sasha Jenson) and Beverly (Tori Spelling). Spelling’s character name should offer mild amusement when remembering she was only a year away from starring in one of the biggest phenomena of early-nineties television. Here, though, the then-less famous Spelling acts on behalf of those viewers who don’t trust Paul. The newcomer to the group, someone others have nicknamed “Mr. Distant” and “The Dreamer”, shows signs of otherworldliness himself as he made contact, albeit unintentionally, with an eerie, disembodied woman’s voice outside the house (“Paul, Paul…“).

The initial interior scenes pipe in the candlelit creepiness as Jodie and her pals gather in a circle and play the titular, kaidankai-esque parlor game. As per the rules, participants take turns adding to an original scary story, but only so long as a match burns. And following through on the setup, the players include their evening’s unofficial host in the activities. Herbert Waverly, the house’s builder and former owner, is the subject of the characters’ seemingly made-up tale. It’s not clear if every word regarding Herbert’s demise—he was killed by his lover’s husband, and his remains were then thrown into the pond behind the house—is even true. What matters is that the teenage narrators believe them to be true.

A game that usually goes off without a hitch takes the inevitable wrong turn as the new guy, someone perhaps with a preternatural ability to manifest the unreal, elaborates on the story in motion with both insight and fervor. Notice how Paul’s match never seems to go out as fast as the others. There is also the fact that this current storytelling session now has much more of a séance quality to it. Paul’s involvement, without question, is why a zombified Herbert soon rises from the pond and deals with those pesky kids up in his house. Refreshingly, though, the episode doesn’t delve into the mechanics of Herbert’s resurrection and leaves a good bit of mystery for us to ponder.

Producer Michael Gornick said there were “no strict standards of practice in terms of violence” for syndicated shows at the time, which means Monsters got away with more than it probably should have. “The Match Game” is proof of this as Mr. Waverly crushed Tori Spelling’s character’s head until she was nothing but a gooey paste left dripping between the zombie’s fingers. Speaking of the episode’s rotting antagonist, this creation of Tom Woodruff Jr. and Alec Gillis is one of the series’ most ghastly. In every shot of Herbert, who is played by Woodruff, he’s a great reminder of how wet and slimy can enhance just about any monster costume.

While it’s sad to see horror anthologies no longer being as common on TV as they once were, there’s really no good reason not to visit past series like Monsters. This show alone turned in a whopping seventy-two episodes—that’s more than enough to keep you occupied. And although the majority of the stories are oddball and unserious, and they were way more keen on showing off the effects than delivering the frights, Monsters is a continuous well of entertainment. Compared to other anthologies, and bearing in mind how this one operates, you might agree the series has a pretty consistent batting average. Not every episode was on the same level as “The Match Game”, but they all had something worthwhile.

“The Match Game” can now be watched on Tubi and purchased on region-free DVD from Via Vision.

The post ‘The Match Game’ – Add This Creepy ‘Monsters’ Episode to Your Halloween Watchlist appeared first on Bloody Disgusting!.

Salem Horror Fest‘s eighth annual event kicked off last night at Salem’s Peabody Essex Museum, and festival manager Leslie Adams‘ brief opening statement — which concluded with the above quote — assured attendees that the event remains steadfast in its mission to cultivate a safe, inclusive, and fun community for genre fans.

This year’s festival is the first under the new leadership of Horror Arts Collective — formed by legacy staff members in the wake of founder Kay Lynch stepping down last year — but the team upholds the ethos instilled by Lynch, who cheered on her successors from the front row like a proud mom.

The new guard also upheld the tradition of kicking off with a memorable opening night headlined by a horror icon, with Hellraiser‘s Ashley Laurence serving as this year’s guest of honor. Media personality Xero Gravity returned as master of ceremonies for the third year in a row, maintaining momentum with her infectious energy.

The theme of the 2025 event is “the horror within,” which renowned author and professor Tananarive Due delved into with her keynote speech. She explored how the theme played into the resonant story behind her Bram Stoker Award-winning historical horror novel The Reformatory, praised by Stephen King as “one of those books you can’t put down.”

Due, who executive produced Shudder’s Horror Noire: A History of Black Horror, also revealed that she and her husband Steven Barnes are in pre-production on a short film adaptation of their graphic novel The Keeper, on which they’ll make their directorial debut.

Due’s speech was followed by a thoughtful conversation with Xero to further investigate the impact of representation in media, after which Adams returned to the stage to announce this year’s festival winners.

The George A. Romero Fellowship recipients — who will receive mentorship from indie film veterans Travis Stevens (Girl on the Third Floor), Jenn Wexler (The Ranger), and Matt Leslie (Summer of 84) — include Christopher Bickel (Pater Noster and the Mission of Light), Senda Bonnet (Turn It Off), and Sophie Whipple (The Night Side).

The 2025 Jury Awards went to Kaye Adelaide‘s The Rebrand for Best Feature, Conor Soucy‘s The Conduit for Best Interlude, and Alexa Jane Jerrett‘s Bedlamer for Best Short. The latter was screened for the audience, leaving them mesmerized by the tale of a patriarchal fishing settlement attempting to domestic otherworldly creatures, told through gorgeous black-and-white cinematography.

Finally, Rue Morgue’s Andrea Subissati welcomed Laurence to the stage for a 40-minute conversation that traced her origins back to growing up as a “weird, stay-by-myself, draw-to-make-friends girl” who initially pursued acting to impress a boy through her current work as an artist. She announced that Phil and Sarah Stokes, Clive Barker‘s longtime archivists who curated his art books, are in the early stages of creating a coffee table book of her art.

Of course, there was also plenty of Hellraiser talk, from the soft-spoken actress’ empathetic approach to the role of Kirsty Cotton (“I actually didn’t think of Hellraiser as a horror film. I thought of it as a love story”) and her lifelong kinship with Clive Barker to getting hypothermia when she reprised her iconic role for the final time in Hellraiser: Hellseeker.

“I like being the Hellraiser girl forever,” said the delightfully genuine Laurence, met with cheers from the audience. “People like me are victorious in [Barker’s] world. I’ve always been safe with him. This is my life, more than just a film I was involved in.”

The evening concluded with a screening of Hellbound: Hellraiser II, the sequel that sees Laurence’s Kristy rise to full final girl status — but Salem Horror Fest is just getting started.

Over 60 Official Selections are programmed through May 4, including features Catch a Killer, Head Like a Hole, House of Ashes, Pater Noster and the Mission of Light, So Fades the Light, The Dæmon, and The Rebrand along with various shorts and interludes, plus repertory screenings of Re-Animator, The Substance, The Descent, The Girl with All the Gifts, Troll 2, Give Me an A, and Chain Reactions.

The festivities continue with meet-and-greets with scream queen Linnea Quigley; live podcasts from The Faculty of Horror, Girl, That’s Scary!, and Bloody Disgusting’s own The Horror Show; a book signing and panel with Due and other horror authors; and a vendor market where yours truly will be slinging VHS tapes this weekend.

Salem Horror Fest 2025 passes are on sale now!

The post Salem Horror Fest 2025 Opening Night Raises Hell with Ashley Laurence [Event Report] appeared first on Bloody Disgusting!.

Over 60 Official Selections — shorts, interludes (15-60 minutes), and feature length — will screen, in addition to repertory screenings, live podcasts, and other special events.

The annual opening night celebration at the Peabody Essex Museum will feature a Q&A with horror icon Ashley Laurence moderated by Rue Morgue‘s Andrea Subissati; a screening of Hellbound: Hellraiser II; keynote speaker Professor Tananarive Due, author of The Reformatory and executive producer of Horror Noire: A History of Black Horror; announcement of jury prizes; and a screening of the winning short.

Special Events

• Local Mass Hysteria – A collection of shorts from New England filmmakers (April 30)
• Opening night with Ashley Laurence, Tananarive Due, and a screening of Hellbound: Hellraiser II (May 1)
• Book signing and panel with five horror authors including Tananarive Due
• Special appearances by resident scream queen Linnea Quigley
• The Faculty of Horror live podcast with a screening of The Substance
• Girl, That’s Scary! live podcast with special guest Tananarive Due
• Bloody Disgusting’s The Horror Show live podcast and horror trivia party

Repertory Screenings

• Re-Animator – 40th anniversary restoration
• Chain Reactions – New documentary about The Texas Chain Saw Massacre with Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, and Karyn Kusama
• More to be announced

Features

Catch a Killer
directed by Teddy Grennan

When a horror movie buff gets kicked off the police force, he and his girlfriend hunt a serial killer copy-catting the murders from famous horror films.

Head Like a Hole
directed by Stefan MacDonald-Labelle

In financial dire straits, a man accepts a strange, high-paying job where he must take up residence in a home and measure a hole in the wall of the basement to determine whether or not it’s growing in size.

House of Ashes
directed by Izzy Lee

Grieving widow Mia must survive psychological and supernatural horrors while under house arrest.

Pater Noster and the Mission of Light
directed by Christopher Bickel

Max, a young record store clerk, stumbles upon a rare vinyl LP and is drawn into the world of a 1970s hippie commune. An invitation to the remnants of the cult and its unholy spawn leads to grave circumstances for Max and her friends.

So Fades the Light
directed by Get Super Rad

Sun was worshiped as a child by a cult. 15 years later, Sun lives on the road hiding from her past. Tormented by memories, she travels back to the compound, unaware that the cult’s former leader is on his way back home.

The Dæmon
directed by David Yohe & Matt Devino

Haunted by his father’s suicide, Tom abandons his wife and seeks refuge at the lakeside cottage where he met his tragic end. Unaware of the sinister malevolence seeping from the lake, Tom becomes a willing vessel for the same evil that claimed his parents and now threatens all who dare draw near.

The Rebrand
directed by Kaye Adelaide

Nicole, an eight months-pregnant bisexual videographer, is hired by a lesbian lifestyle influencer couple to film a redemption documentary after they’ve been publicly cancelled, but Nicole quickly discovers that the couple have nefarious ulterior motives.

Interludes

• 3 Easy Steps
• Dry January
• Forgive Me
• Girls
• RAT!
• Spoons
• The Baby
• The Conduit
• Voyager

Shorts

• A Drive at Dawn
• Be Bad
• Bedlamer
• Bloody Mary
• Bush
• Cruelty
• Doppelgänger
• Feedback
• Find You Here
• Frankenbabes From Beyond The Grave!
• Full Moon Glory Hole
• Gaslighter
• Her House
• How to Stay Awake
• If Martin Clunes Wore Lip Gloss
• It Draws Closer
• Izzy
• Les Bêtes
• My Child
• Nervous Ellie
• Out of Body
• Pocket Princess
• Poppy’s Saturn
• Pumpkin Guts
• Safe
• Scrumptious
• Sweaty Larry
• The Last Thing She Saw
• The Night Side
• The Seance
• Turn It Off
• Unravelling
• VHX
• Wake

Local Mass Hysteria

• Forever War
• Humanzee
• Bill Came Back
• Day Dreams
• Indicator
• Katie’s Skin
• Mordrake
• Paper Dolls
• The Guest on Topsfield Road
• The Halloween Party

Salem Horror Fest 8 passes are on sale now.

The post Salem Horror Fest 2025 Line-Up Includes ‘Hellbound: Hellraiser II’ with Special Guest Ashley Laurence appeared first on Bloody Disgusting!.

After wrapping up 2023 with look at New French Extremity in Inside (listen), horror musicals in Anna and the Apocalypse (listen) and the Best Horror Films of 2023 (listen), we’re kicking off our first official episode of 2024 with a lengthy discussion of Tony Randel‘s better-than-it-has-any-right-to-be sequel Hellbound: Hellraiser II (1988), which just celebrated its 35th anniversary!

Hellbound: Hellraiser II picks up hours after the first film ended, seeing Kirsty Cotton (Ashley Laurence) confined to a mental hospital after she tells the authorities that her father was betrayed by his evil, adulterous wife, Julia (Clare Higgins), and is now being tormented in hell by sadomasochistic demons called Cenobites. Few believe Kirsty, except the thrill-seeking Dr. Channard (Kenneth Cranham), who is so intrigued by her frightening stories that he teams up with a newly resurrected Julia. When they open the gates to Hell and unleash the Cenobites, Kirsty and fellow patient Tiffany (Imogen Boorman) try to stop them. 

Be sure to subscribe to the podcast to get a new episode every Wednesday. You can subscribe on iTunes/Apple Podcasts, Stitcher, Spotify, iHeartRadio, SoundCloud, TuneIn, Amazon Music, Google Podcasts, and RSS.

Episode 263: Hellbound: Hellraiser II (1988)

Put on your best white suit because we’ve got a date with a bloody mattress in Tony Randel’s Hellbound: Hellraiser II (1988). Tagging in for the discussion is our forever-Hellraiser guest: Bryan Christopher!

Join us as we heap all the deserve praise on Clare Higgins’ Julia Cotton, who finally gets her due in this spectacular sequel. Hellbound astounds with a bigger budget and more world building, but sometimes suffers from an unfocused kitchen sink approach that the first film wisely avoided.

Plus: humanizing the Cenobites, discussing what a “sex movie” is, Trace’s unlikely remake proposition, Ashley Laurence’s excellent “WTF” face and Julia’s America’s Next Top Model vortex challenge.

Cross out Hellbound: Hellraiser II!

Coming up on Wednesday: We’re going to be discussing carnivorous contraceptives in Martin Walz’s 1996 horror comedy Killer Condom!

P.S. Subscribe to our Patreon for nearly 283 hours of Patreon content including this month’s new episodes on Hannibal S01E01, Mimic (1997), Founders Day and Night Swim, plus an audio commentary celebrating the 10th anniversary of The Babadook (2014).

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However, there were exceptions to this trend, as the lowered expectations also meant that creative risks could sometimes be taken with existing properties – with filmmakers being allowed to innovate instead of simply rehashing what came before. One example of these creative outliers is the Warlock series, as the third movie is actually a marked improvement over the second entry despite its direct-to-video origins. With that in mind, I invite you to join us for the final installment in our three-part Warlock retrospective as we dive into what exactly makes Warlock III: The End of Innocence tick.

The original film had been a surprise hit for Trimark Pictures, as they had acquired the finished project for much less than its production budget, but Warlock: The Armageddon wasn’t the huge success that the distributor had been hoping for despite a greatly reduced budget. That’s why it makes sense that the next installment would cost even less than its already-discounted predecessor, with Warlock III being produced for a mere $2 million.

Naturally, Julian Sands jumped ship when he realized the limitations of the ensuing sequel, and even Anthony Hickox couldn’t be convinced to return to the director’s chair. Ironically, I believe that this is the source of the film’s unique charms, as a completely new (albeit budget-friendly) cast and crew ended up making The End of Innocence a completely different kind of movie, with the filmmakers under no pressure to tie things in with the stories that came before.

Helmed by Eric Freiser (who sadly only directed this film and one other TV movie) and starring Hellraiser’s Ashley Laurence as our leading lady, this sequel is more of a traditional scary movie than a fantasy/horror hybrid. Not only does the film introduce a surprisingly menacing reinvention of the titular Warlock courtesy of Bruce Payne, but it was also shot in Roger Corman’s Concorde Anois studios (infamous for its controversial genre productions) due to the new haunted house setting.

In the finished film, we follow the artist Kris Miller (Laurence) as she and her friends travel to her estranged family’s ancestral home in an attempt to find out more about her past before the place is demolished. Unfortunately, one of her companions accidentally unleashes a terrifying Warlock (Payne) who was trapped beneath the house, with the psychotic magician planning on using Kris as part of a demonic ritual in a mind-bending supernatural thriller.

We may have seen variations of this familiar premise before, but The End of Innocence is surprisingly well executed in spite of its inadequate budget and somewhat meandering narrative. To be honest, this might very well be the most consistent entry in the entire franchise, telling a self-contained story about family and ancestral curses that feels firmly rooted in a single genre and tone.

The side-characters are nothing to write home about – with the film featuring your standard early-2000s collection of disposable college students present in any number of horror flicks from that period – but the whole experience is grounded by two exceedingly charismatic leads. I mean, it’s impossible not to root for Laurence’s sensitive artist even if her friends leave a lot to be desired, and it’s pretty cool to see her face off against another disturbing supernatural force.

While there’s no getting over the absence of Julian Sands, I’ve got to hand it to Payne for making the role his own and completely recharacterizing the Warlock as a more manipulative and believably sinister figure. Gone is most of the over-the-top glee present in the previous films, with this newly resurrected Satanist (who might be a completely different Warlock) being a lot more direct with his evil schemes. Even critics of the time praised Payne’s performance as the highlight of the picture despite feeling that this was the weakest entry in the trilogy, claiming that his more calculating demeanor made him even more menacing.

Even so, Warlock fans are here for the supernatural shenanigans, and Freiser’s film manages to deliver some solid old-fashioned frights that feel directly lifted from the golden age of Vincent Price vehicles. They may not all work, with some mirror scares and silly dialogue feeling more cheesy than eerie, but the flick’s more subdued approach to spell-work (like turning a victim into glass or cursing a musician with deafness) is a lot scarier than the hilarious effects of the previous films.

Alas, The End of Innocence suffers from some major pacing issues, with a huge portion of the runtime dedicated to watching edgy college students wander around an old house and talk about their upcoming exams. I usually wouldn’t mind a bit of character development sprinkled throughout a creepy adventure, but the weak script makes these talkative segments dreadfully uninteresting in ways that often overpower the creative bits – though I admit that some clever direction and the early 2000s soundtrack help to make things more palatable.

Your mileage may vary depending on how willing you are to deal with boring exposition in order to get the death and witchcraft of it all, but I’d argue that there are enough good ideas in Warlock III to make it worth a watch. From clever homages to Mario Bava to a genuinely fun third act, I think this film deserves a better reputation even if it can’t quite reach the same heights as its more expensive brethren.

I’ve always been a sucker for moody early-2000s horror flicks ala Book of Shadows: Blair Witch 2, and that’s probably why I ended up enjoying The End of Innocence a lot more than I expected. It’s certainly no masterpiece, with only The Armageddon featuring a worse victim pool, but this direct-to-video gem is still a worthy entry in one of the strangest horror franchises of all time.

Other than the absence of Sands, my only real gripe with the film is the fact that it’s the last one in the series, as I’d love to see our favorite time-travelling Satanist make a proper 21^st century debut…

The post ‘Warlock III: The End of Innocence’ – Revisiting the Final Film in the ‘Warlock’ Trilogy appeared first on Bloody Disgusting!.

Even a cursory glance at the ten existing Hellraiser films (four theatrical, six direct-to-video) reveals that not all Cenobite films are made equal. And while the top film is a given, what about the other slots?

Here are my definitive rankings…

10 – Hellraiser: Revelations (2011)

Like many major horror series in the 2000s and beyond, Hellraiser properties were driven by rights issues. Revelations (and, to a lesser extent, Judgment) suffers as a result. Dimension Films needed to release a new film or else they would lose the rights, so Revelations was rushed into production and made on the cheap.

Fans of the franchise decried the loss of Doug Bradley, who for the first time refused to reprise his role as Pinhead (let’s be honest: replacement Stephan Smith Collins never stood a chance). Still, there’s something intriguing about Revelations’ attempt to return to the narrative of Barker’s first film with friends Nico (Jay Gillespie) and Steven (Nick Eversman) taking the place of Frank (Sean Chapman) and Larry (Andrew Robinson). Revelations isn’t good, but it has a kernel or two of something interesting.

9 – Hellraiser: Inferno (2000)

No shade to director Scott Derrickson, who cut his teeth on this fifth entry in the franchise, but for anyone who hates the back half of this franchise, Inferno is where to lay the blame. This is the film where it starts to go wrong (though other BD writers beg to differ).

The visual look of Inferno is perfectly fine, and there are even some novel sequences in the franchise’s first direct-to-video sequel. But the script, which effectively turns Pinhead into a literal judge, jury, and executioner in the case against a corrupt detective (Craig Sheffer) establishes the formula that would doom nearly every entry in the series afterward. Hellraiser was never a police procedural or a neo-noir, but thanks to Inferno, that’s what it became as the majority of the successive films would ape its structure.

8 – Hellraiser: Hellseeker (2002)

Also known as “the film that does Ashley Laurence’s Kirsty dirty.” The sixth entry in the franchise infamously brought back its heroine from films 1 & 2, though Oz and 30 Rock actor Dean Winters is really the protagonist of the film.

Basically, we’re repurposing the same dirty cop motif as Inferno, only Lawrence pops in a few times. What makes Hellseeker place so low on the list is not its bland, generic storyline, but rather how it misunderstands what made Kirsty and Pinhead fan favorites in the first place. The crux of the climax is that Kirsty sells out her husband to the Cenobites in a mirror version of what she does to Frank in the first film.

The issue here is that she also offers up four other souls, which is something Kirsty would never do (for that matter, it’s also not something Pinhead and the other Cenobites would accept; in fact, the film treats Pinhead like a bit of a moron for falling for the deal).

There’s no point denying that all of the sequels are cash grabs, but Hellseeker proves that writers Carl V. Dupré and Tim Day, unlike future writer Gary J. Tunnicliffe, simply don’t have a handle on what makes Hellraiser such an exceptional franchise.

7 – Hellraiser: Judgment (2018)

It may seem sacrilegious to rank a film without Bradley above the ones where he appears, but the reality of films 5-8 is that Bradley is little more than a cameo. At first glance,  Judgment – like Revelations before it – is another Dimension rights casualty: cheaply made and shot quickly.

And yet…fans of Barker’s Hellraiser comics and The Scarlet Gospels (2015), the sequel to his OG novella The Hellbound Heart (1986), will recognize something of the authoritarian world of the Leviathan in the bureaucratic procedures within Tunnicliffe’s script. It’s clear that the writer/director, who also penned Revelations, is a legitimate Hellraiser fan.

So while Judgment’s egregious nudity and bland police procedural is a dull and familiar affair by this point, the small touches about the Auditor and the rules dictating Cenobite behavior is a fascinating adaptation of written Hellraiser texts. That’s what elevates this one above other mediocre entries in the franchise.

6 – Hellraiser: Deader (2005)

Deader is the weaker of two Hellraiser properties to drop in 2005 (thanks, Romanian tax breaks!). Whereas Hellworld succeeds by embracing its campy ridiculousness, Deader struggles with the same kind of self-seriousness that plagues both Inferno and Hellseeker. Its saving grace is prolific genre actress Kari Wuhrer, who tries (not always successfully) to make her banal investigative journalist character, Amy Klein, a compelling protagonist.

The most frustrating aspect of Deader is that there is a kernel of something interesting at work within the film’s narrative, which finds hard-worn journalist Klein investigating a cult who is obsessed with Pinhead. It has shades of Barker’s interest in the occult, particularly the case files of Harry D’Amour (played by Scott Bakula in Lord Of Illusions and ever-present in the later Hellraiser comics).

The problem, however, is the film’s tendency to rely on unremarkable hallucinatory visions as set pieces. The scares simply aren’t particularly engaging, memorable or convincing (blame the film’s limited DTV budget). Deader is on the weaker side of the franchise’s more experimental narratives, but it is heads and shoulders above the generic cop procedurals that precede it.

5 – Hellraiser: Hellworld (2005)

There’s no question that Hellworld is a “bad” movie, but in comparison to the two Hellraiser films before it, at least this one is fun! Unlike Inferno and Hellseeker, there’s no police protagonist stuck in his own personal hell; instead, this is the closest that the franchise comes to a traditional slasher film as a group of College students obsessed with a Hellraiser game are invited to a mansion party and killed off one by one.

Never mind the fact that Hellworld clearly has no idea how or why people use the internet (in 2005!). Viewers should instead focus on the welcome presence of Lance Henriksen, or a young hunky Henry Cavill, whose death by decapitation courtesy of a large hook on chains is the kind of set piece that William Castle would have loved.

The same can be said of the film’s controversial – and utterly ridiculous – “twist” ending, which reveals the teens were buried alive and shared a deadly hallucination. It’s very, very dumb, but also very reflective of the time period: in 2005, Saw films were all the rage and they routinely wrapped up with a ridiculous cliffhanger that recontextualized their own premise. Hellraiser: Hellworld is just playing the game!

4 – Hellraiser: Hell on Earth (1992)

Hell on Earth is the epitome of dumb fun. After the high family melodrama and mythology building of 1 & 2, the third entry in the franchise takes a slight detour in silly ridiculousness, but it’s still highly enjoyable.

Despite Barker’s plans to build the third film in the series around Julia Cotton, Claire Higgins’ departure – and a mere cameo from star Ashley Laurence – meant that Hell on Earth had to basically start from scratch. Enter Terry Farrell’s Joey, the first reporter protagonist of the series (but not the last) who uncovers the secret history behind Bradley’s Pinhead and his original human incarnation, Elliot Spencer.

The film is less revered by fans for its story than for its madcap effects and the fact that in this entry Pinhead truly becomes the new iteration of Freddy Krueger. The deaths and the gore take a page from the second film: go big. Hell on Earth embraces the concept with a bombastic set piece in sleazy J.P (Kevin Bernhardt)’s nightclub, where patrons are horribly murdered and several new ludicrous Cenobites are born (Brent Bolthouse’s CD the DJ, with his period-appropriate CDs as weapons, is a fan favorite).

Anchoring all of this is Bradley, who takes Pinhead’s vamping to new levels. The iconic scene in a Church where the Hell Priest adopts a crucifixion pose and breaks the pupil was deemed so offensive that a North Carolina church refused to allow them to shoot inside. No small feat for horror’s most eloquent icon in his third outing!

3 – Hellraiser: Bloodline (1996)

This may be a controversial ranking, but the reality is that Bloodline is the least appreciated entry of the whole franchise. Yes, Part 4 goes to space, which is usually code for “we’re running out of ideas creatively,” but nothing could be further from the truth.

In fact, Bloodline, the last film in the series to be released theatrically, is easily the most ambitious sequel not named Hellbound.

The final product is compromised thanks to studio interference (credit the Weinsteins – as usual) and the gore that remains only offers hints of what could have been, but regardless of meddling, the film is unafraid of taking big narrative risks.

Bloodline adopts an unusual multi-generational, three timeline approach that follows the creation of the LeMarchand box in 1800s France, the construction of a Lament Configuration-inspired high rise in “the present”, and then a space military operation hundreds of years in the future. Not only does the film explode the scope of the franchise across both time and space, it introduces a compelling new female adversary for Pinhead in the form of Angelique (Valentine Vargas).

Bloodline is also one of the few Hellraiser films where the protagonists (all played by Bruce Ramsay) – decent, albeit faulty men – actually die. So, too, do both antagonists, meaning that Bloodline is effectively the franchise’s endpoint (Pinhead’s death in this film remains canon to this day).

The critical and commercial reception for the film was not kind and it has yet to receive a much-needed contemporary reappraisal. For those who wrote off the film as simply “Hellraiser in space,” you owe it to yourself to rectify this error as soon as possible.

2 – Hellbound: Hellraiser 2 (1988)

Acting as more of a continuation than a standalone sequel, the first sequel picks up the story of Kirsty, Julia, and Frank almost immediately after the events of the first film. Adding a novel new twist to the proceedings is the introduction of not just a maniacal new antagonist in the exploitative and corrupt Dr. Channard (Kenneth Cranham), but also a visually compelling depiction of the world of the Cenobites.

Inspired by the work of legendary artist M.C. Escher, hell is visually coded as a labyrinth of stairs and passageways that defy direction and gravity. And lording over everything is a giant prism overlord called Leviathan.

The expansion of the franchise world has never truly been recaptured in subsequent entries, which is a shame because the world of Leviathan and its torturous horrors is not just visually captivating, but offers new and exciting set pieces by which to explore the characters’ psyches.

Wanna see a new side of Julia? Check her out in a killer seafoam dress, torturing Frank by withholding sex from him for all of eternity.

Wanna fuck with people’s expectations? How about a Cenobite-making elevator filled with piano wire and a giant dick-like proboscis?

This movie is the shit. It’s the best horror sequel of all time that’s not Scream 2.

1 – Hellraiser (1987)

There is no other answer. It’s not just because it’s the original or the film that introduces Bradley as Pinhead, or how impeccably well-made and assured Barker’s directorial debut is, despite being made for remarkably cheap.

It’s not the off-the-charts horniness of the entire enterprise, or the fact that it’s a melodrama first and a horror film second.

It’s not how cool the Lament Configuration is, or how Frank is the physical embodiment of every shitty dude you’ve ever fallen for that you can’t let go of.

It’s Julia fucking Cotton, the horror queen who NEVER gets her due in the pantheons of villains. Yes, as everyone likes to joke, she commits murder because she can’t let go of the best sex of her life, but that logic is simplistic and reductive. The reality is that Julia starts the film as a bored housewife who is tired of married life to a milquetoast man, and when she is presented with an opportunity to reclaim the most significant and erotic moment of her life, she finds herself empowered and driven to seize it. Anything to overcome the stifling doldrums of an otherwise unexceptional life. That’s relatable shit!

So yes, bow down to Pinhead and the Cenobites, but don’t overlook the fact that Hellraiser is nothing without Julia Cotton. She’s the main character of the first – and best – film, as well as the OG villain of the franchise. Put some respect on her name.

The post Sweet Suffering: A Definitive Ranking of All Ten ‘Hellraiser’ Films! appeared first on Bloody Disgusting!.

After looking at two very different types of queer-coded bromances in Robert Eggers’ The Lighthouse and Rob Underwood’s Tremors, we took a trip to Poland to analyze the trans allegory in the mermaid horror musical The Lure. This week, we’re heading back into the twisted mind of Clive Barker to discuss his infamous directorial debut, Hellraiser, on the week of its 35th anniversary!

In the film, hedonist Frank (Sean Chapman) inadvertently opens a portal to hell when he tinkers with a box he bought while abroad. The act unleashes gruesome beings called Cenobites, who tear Frank’s body apart. When Frank’s brother Larry (Andrew Robinson) and his wife Julia (Clare Higgins) move into Frank’s old house, they accidentally bring what is left of Frank back to life. Frank then convinces Julia, his one-time lover, to lure men back to the house so he can use their blood to reconstruct himself. That is, until Larry’s daughter Kirsty (Ashley Laurence) gets caught in the Cenobites’ crosshairs, making for a particularly awkward family reunion.

Be sure to subscribe to the podcast to get a new episode every Wednesday. You can subscribe on iTunes/Apple Podcasts, Stitcher, Spotify, iHeartRadio, SoundCloud, TuneIn, Amazon Music, Acast, Google Podcasts, and RSS.

Episode 195: Hellraiser (1987)

Come to daddy and solve that puzzle box because we’re reveling in the queer, cosmic horror of Clive Barker’s Hellraiser (1987)! Tagging in for the discussion is returning guest (and Hellraiser franchise superfan) Bryan Christopher, who we can only assume is a masochist at heart.

Join us as we go all in on the queer subtext that Barker injects into his directorial debut before heaping all the praise on Claire Higgins’ performance as the complex Julia Cotton. There will be discussions of BDSM and consent, the torture porn label that is unfairly applied to the film, and all things Cenobites.

Plus: Frank’s precious goo, shoulder pads for days, one rude-ass nurse, an angry pet store lady, and the ultimate question: why aren’t these characters diarrhea-ing all over themselves at the sight of some of this shit? And to think that Ebert said this film was a “bankruptcy of imagination”! Jesus wept.

Cross out Hellraiser!

Coming up on Wednesday: After years of requests, we are finally heading to West Berlin to hang with the coven of evil witches in Luca Guadagnino’s remake of Suspiria (2018)!

P.S. Subscribe to our Patreon for more than 195 hours of additional content! This month, we’ve got episodes on our favorite horror movie sequences in non-horror movies, social media slasher movie Sissy, the horror prequel double feature you didn’t know you needed in Ti West’s Pearl and Orphan: First Kill, and an audio commentary on Wishmaster just in time for its 25th anniversary.

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We’re still riding high from our first week of 2021 when we went deep and looooong on Scream 3. Now it’s time to turn our attention to the Hellraiser franchise, a personal fave of mine and this week’s guest, Bryan Christopher.

We’ve already covered the problematic 4th entry Bloodline on the pod, but before Pinhead went to space, he tried to take over a nightclub!

In Anthony Hickox‘s 1992 film, intrepid reporter Joey (Terry Farrell) befriends Terry (Paula Marshall) after a strange incident at the hospital. The path leads the women back to sleazy/sexy nightclub owner J.P. Monroe (Kevin Bernhardt) whose ambition catches the attention of Pinhead (Doug Bradley), who has been imprisoned in a pillar after his battle with Kirsty Cotton (Ashley Laurence) in the first two films.

Soon enough all hell has broken loose, leading to plenty of fun and just a teensy bit of sacrilege…at least enough for series creator Clive Barker to sign on to “present”.

Be sure to subscribe to the podcast to get a new episode every Wednesday. You can subscribe on iTunes/Apple Podcasts, Stitcher, Spotify, iHeartRadio, SoundCloud, TuneIn, Amazon Music, Acast, Google Podcasts, and RSS.

Episode 107 – Hellraiser III: Hell on Earth (1992) feat. Bryan Christopher

Our month of 3s continues with Hellraiser III: Hell on Earth, the third entry in the Hellraiser franchise and who better to join us than mega fan Bryan Christopher? In the 1992 Anthony Hickox-directed film, the action shifts from the UK to New York (cough North Carolina cough) as Doug Bradley’s Pinhead channels Freddy and Wishmaster while tempting a playboy club owner, a homeless runaway and an ambitious reporter.

Expect another troubled production, the first use of CGI in a horror film and not one, but TWO over the top set pieces, including an infamous nightclub murder spree and a blasphemous church sequence. Plus: pillar jokes, kitchen fires and lots of tangents about the terrible sequels in the franchise’s back half.

Cross out Hellraiser 3: Hell on Earth!

Coming up on Wednesday: With only two more picks left in our month of 3s, we’re travelling back to the 80s for Psycho 3 (1986), which is directed by the star of the series himself: Anthony Perkins!

– Joe & Trace

P.S. Subscribe to our Patreon for tons of additional content! We’ve already revealed the results of the 2020 Hereditaries (our horror version of the Oscars), talked over Final Destination 3 for our audio commentary and discussed the controversial new film Promising Young Woman. Plus: we still have episodes on Servant S2 and The Stand S1 to come!

The post The Dumb, Sacrilegious Fun of ‘Hellraiser 3: Hell on Earth’ [Horror Queers Podcast] appeared first on Bloody Disgusting!.

Hellraiser star Ashley Laurence will appear in the new season, for starters, along with The Thing‘s Keith David and “The Walking Dead” actor Josh McDermitt.

Anna Camp (Pitch Perfect) and Adam Pally (“The Mindy Project”) are also on board.

Deadline notes, “Shudder also revealed initial details about four of this season’s segments, which will be directed by Greg Nicotero. Camp and Pally will star in “Shapeshifters Anonymous” Parts 1 and 2, written by Nicotero, based on a short story by J.A. Konrath (Last Call) about an unlucky soul who finds himself in need of a werewolf support group; McDermitt, Laurence and David will star in “Pesticide,” written by Frank Dietz (I Hate Kids), in which an exterminator makes an infernal bargain; and “Model Kid,” written by returning Creepshow writer John Esposito (season one’s “Night of the Paw”), is about a 12-year-old monster fan who turns to hand-built model kits to escape his unhappy reality.”

The six-episode second season is expected to premiere in 2021.

The post Ashley Laurence, Keith David and More Join the Second Season of Shudder’s “Creepshow” appeared first on Bloody Disgusting!.

Horror author Clive Barker didn’t initially have any intention to direct films, but the cinematic adaptations of Underworld and Rawhead Rex left him dissatisfied and feeling the need to take control. When trying to determine what it would take for someone to hire a first-time director, his producer Christopher Figg suggested something relegated to a single location with unknown actors and monsters to keep the budget small. Barker thought of his novella The Hellbound Heart, which fit the criteria. Roger Corman’s New World Pictures agreed to fund Hellraiser for just under a million dollars, and thus began the birth of one of horror’s major franchises.

It was Figg who introduced special makeup effects designer Bob Keen to Barker, and the pair hit it off immediately. The two spent weeks exchanging ideas that would still adhere to the small budget. Between Barker and Keen, they eventually settled on the design of the cenobites, with Barker drawing inspiration from punk fashion and the S&M clubs he visited. Their lengthy planning paid off. Butterball, Pinhead (though credited as Lead Cenobite), Chatterer, and the Female only appear on screen for a scant few minutes and still became instantly iconic. It wasn’t just the designs, but the performances that made horror audiences fall hard for the cenobites. Barker insisted on hiring actors when the studio felt stunt performers would have been cheaper. It allowed the cenobites’ personality to shine through when the heavy makeup and prosthetics meant the actors couldn’t even see where they were going.  As cool as Pinhead looks, he wouldn’t be nearly as iconic without Doug Bradley in the role.

Keen’s work on this film extends far beyond the cenobites, though. As menacing as the cenobites are there’s still some semblance of humanity to them, and Kirsty Cotton (Ashley Laurence) is able to bargain with Pinhead when she accidentally summons them. That’s not the case with the Engineer, a monstrous demon that prowls the corridors of Hell. Kirsty Cotton barely survives her first run-in with the Engineer when she solves the Lament Configuration in her hospital room. This scene was a beast to shoot, though, as the hall the effects team had to work with was only 15 feet long. The Engineer took up 7 feet. The monster was built and mounted on a platform with wheels, with a group of guys behind it to push it forward and puppet its movements. It left Lawrence without much space left to run, so she had to run very slowly. They also had to film this several times over to help create the illusion of a much longer hallway.

The crowning achievement of Keen and the special effects team’s work on this film isn’t the extradimensional realm (though they’re great), but the gruesome and gory resurrection of Frank Cotton. When Kirsty’s father Larry (Andrew Robinson) cuts his hand on a nail, the blood seeps into the floors of the attic that begins one slimy, goopy, bloody sequence that brings Frank back from the dead as a living, skinless corpse. Rigged mechanisms were built under the floorboard to have them move while pumps poured goo through the holes. The beating heart was made from a condom, tubing, and glue to make it look like a real human heart.

Barker shot the film in order, and the budget ran out by the finale. The winged creature that takes off with the lament configuration isn’t nearly as grand as it was envisioned. The gory intensity and sexual themes meant issues with censorship, too, causing scenes to be cut. Despite all of this, the story, special effects work, and characters carved out a space in pop culture memory. For his first-time directorial effort, Barker unleashed a unique world that hadn’t been seen before. His vision and Keen’s spectacular designs delivered the beginning of one of horror’s most memorable franchises.

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In the first film Hellraiser, we’re introduced to Frank Cotton (Sean Chapman), who after toying with a mysterious Puzzle Box, is taken and torn apart by the Cenobites: Creatures from another dimension that specialize in the boundaries of pain and pleasure. Presumed to have skipped town, Frank’s brother Larry (Andrew Robinson) and his second wife Julia (Clare Higgins) move into Frank’s old house. An accident while moving a mattress causes Frank to reappear in our world, albeit missing his skin. Julia, who unbeknownst to Larry had an affair with Frank, discovers Frank in the attic. Frank convinces Julia to help him rebuild his body through blood. But when Larry’s daughter Kirsty (Ashley Laurence) happens upon their secret and the Puzzle Box, eventually so do the Cenobites.

Pinhead and the Cenobites weren’t the focus of this film, and rightfully so. The twisted love affair and relationship between Frank and Julia is one of the film’s strong points. Claire Higgins plays the multilayered Julia with ease. Initially reluctant to help Frank, and apprehensive about committing murder, Julia morphs into a seductive and deadly black widow who doesn’t give a second thought to bashing a man in the head with a hammer. In contrast, Ashley Laurence turns in a strong performance as the film’s protagonist, conveying the emotion needed for when she uncovers the truth about Julia and Frank, and also employs the cunning needed to outsmart them, as well as the Cenobites. The film’s gore effects are appropriately red, with highlights being the Frank’s resurrection and the squeamish sights of hooks tearing into flesh. Lastly, composer Christopher Young completed the creepy and gothic atmosphere with his score that meshed perfectly with the Barker’s visuals. About the only shortcomings for the film are its script and pacing, which tends to lag at first before we get into the good stuff (typical for 80s films). That, and the hospital scene involving Kirsty being held in order to talk to the police (for what?). But hey, that scene is more than made up for with the entrance of the Cenobites, led by Doug Bradley in his iconic Pinhead makeup. Altogether, Barker created one of the best horror films of the decade, and laid the foundations for a memorable franchise.

With Hellbound: Hellraiser II, Barker handed off directing duties to Tony Randel, and focused on the story. Picking up after the events of the first film, Kirsty is now in a psychiatric hospital, haunted by what she experienced. Unfortunately, the head of the hospital, Doctor Phillip Channard (Kenneth Cranham), seems to not believe her story. Secretly, however, Channard has been searching for the Puzzle Box (known as the Lament Configuration) for years, hoping to gain access to the Cenobites’ world. Using Julia’s bloody mattress, Channard manages to resurrect Julia. With Channard supplying her with his patients, Julia goes about regenerating herself like Frank. Meanwhile, Kirsty befriends Tiffany (Imogen Boorman), a mute and fellow patient at the hospital, who is also skilled at puzzle solving. Kirsty also receives a message in a vision from her father, who is trapped in hell. Channard, with Julia’s help, uses Tiffany to solve the Lament Configuration and open the doorway to the Cenobites’ world. Kirsty follows them into the inferno, hoping to rescue her father.

Coming out a mere 15 months after the first film, Hellbound: Hellraiser II can best be summed up as “hectic”. Whereas the first film was more gothic, this film leans more into the visuals. Everything is beefier this time. The bigger budget opens the special effects door, putting out quantity as well as quality. Christopher Young returns with his efforts, with his amped-up score giving the film more muscle. Claire Higgens once again turns on the seductive charm as Julia, while also being the master manipulator. Her performance has competition in the form of Kenneth Cranham’s Channard, who is also calculating and deceptive. Once he undergoes his makeover, Channard is a hoot with his over-the-top lines (“I recommend…amputation!”). Kirsty is still our hero, still matching wits with our antagonists, and seems more comfortable in the role now than in the previous film. Boorman is alright as Tiffany, though her character is basically just a vehicle to get everyone into Hell. And then there’s Pinhead. Barker drops hints at the character’s origins in a flashback (as well as the Cenobites themselves), but the Pinhead character is (wisely) kept in the background for the film’s real villains, Julia and Channard. The pacing problems from the first film have been remedied, although not without cost. While we do get tidbits of information about Hell, its ruler Leviathan, and the Cenobites, there’s no real time to develop characters outside of Channard (though we already know about Julia and Kirsty). Much like Imogen Boorman’s character, William Hope’s Kyle MacRae is there as another vehicle to advance the plot. Clocking in at 95 minutes, the film goes on a breakneck pace once we get to Hell. From there, the story starts to thin out even more, becoming glimpses of scenes, rather than full-on sequences. The power struggle that ensues between Channard and Pinhead is brief and rather laughable, as was Pinhead’s “Darth Vader” moment. Also, what exactly happens to those residents of Hell who die in Hell? In spite of these faults, Hellbound is still a blast to watch, and is the best of the sequels in the series. The gory effects are just as wincing as the first film, and there’s plenty of them to satisfy.

Now comes the final film of the set in Hellraiser III: Hell On Earth. After the events of Hellbound, the man known as Captain Elliot Spencer has been split into two: His pre-Cenobite self, and the manifestation of Spencer’s own desires and impulses, known as Pinhead. While Spencer is trapped in limbo, Pinhead is trapped in the Pillar Of Souls that emerged from the Julia’s mattress. The pillar is bought by JP Monroe (Kevin Bernhardt), the rich owner of a popular nightclub called The Boiler Room. Meanwhile, while doing research on Monroe and his nightclub, reporter Joey Summerskill (Terry Farrell) stumbles upon the Pillar’s past, along with the Lament Configuration. Joey is visited by the spirit of Captain Spencer, who warns Joey that against the rules of the Cenobite realm, Pinhead seeks to free himself and wreak havoc on earth. In order to stop him, Spencer and Pinhead must fuse together.

Directed by Anthony Hickox of Waxwork fame, the film is the many firsts of the series. For starters, this is the first film in the series to be filmed in America instead of Britain. Instead of being produced by New World Pictures, Hell On Earth was picked up by Dimension Films and distributed by Miramax. Unfortunately, this is also where many fans of the first two films were alienated by the change in direction. Pinhead is brought to the forefront and made the central antagonist. As a result, instead of being a gatekeeper of Hell, Pinhead is (in the words of a friend of mine) turned into “that drunken uncle we all hate” with over-the-top dialogue and a seemingly out-of-character presentation. Also, if Pinhead is supposed to be breaking the rules of the Cenobite realm, why is there no other Cenobite sent to stop him? Instead, we have this weak split-personality storyline. Mixed in with that storyline is Joey’s story involving her visions with Captain Spencer, and her coming to terms with her father’s experience and death in Vietnam. The two main storylines eventually come together, but it’s all schizophrenic in the meantime. It doesn’t help that once Pinhead is free to wreak havoc, we get scenes that feel far more Hollywood-esque and out of place in a Hellraiser film. The segment involving the new Cenobites tracking down Joey through the streets of LA feels very cheesy and ripe with blatant fodder for kills (the cops, the clueless dude, the cabbie). On the plus side, the gore is one of the redeeming qualities of the film. The scene in The Boiler Room is appropriately chaotic and full of hooks and chains. And the new Cenobites, while cheesy-looking, do have a certain charm to them (though the CD Cenobite looks like a muppet). Terry Farrell is no Ashley Laurence in terms of endearing her character to the audience, but she’s likeable enough in spite of the weak script. Bernhardt is appropriately douchey enough in his role, so good on him for coming through on that one. And while Christopher Young wasn’t entirely involved in the score, Randy Miller uses a few samples of his work to remind fans that this is a Hellraiser film, while mixing in his own score. It’s not quite as bombastic, however. And given this is Hollywood doing Hellraiser, we get some hard rock and metal songs (I’m always down for Motörhead) to show off the polished Hollywood feel. Again, it just feels out of place. But honestly, as a horror film, Hellraiser III: Hell On Earth is okay. It’s rough, but there’s some goofy fun to glean from it if you ignore the Hellraiser mythos. As part of the Hellraiser franchise, it feels more like a betrayal of the first two films rather than the next step in the evolution of the series.

Video/Audio:

According to the included book for the set, all three films have had new 2K restorations, with the first two films having their restorations approved by Robin Vidgeon, the director of photography for both Hellraiser and Hellbound. For Hellraiser, the new 1.85:1 1080p AVC-encoded image is greatly improved from the older Anchor Bay and Image releases. The film has always had a healthy amount of grain to it, and thankfully it’s replicated here with excellent results. The image has far more detail than before, with darker areas now showing more of what’s lurking in the shadows. The contrast is also improved, which again allows more of the details in the image to show through. For Hellbound, the 1.85:1 1080p AVC-encoded image again has a greater contrast than past releases, with more detail and colour saturation than before. Given that the film was shot almost back-to-back with Hellraiser, they have a similar look. When it comes to Hellraiser III, it’s a different story. That’s not saying that the 1.85:1 1080p AVC-encode transfer for this film is terrible (far from it). The film looks good, but it just doesn’t share the same visual style as the previous two films (which is obvious, given the different DOP). Also, the instances involving the CG effects (that stupid morphing effect, for instance) take a hit in the clarity department. Grain is present and looks natural, with good details in texture. That’s for the R-Rated Cut. For the Unrated Cut, Arrow has had to splice in 4:3 full frame shots from a pan-and-scan LaserDisc. Apart from the framing change, these shots are instantly recognizable with the serious drop in detail and otherwise smeary look to them. Seeing as these were the only elements available to use, it’s a case of doing the best that they can do.

In the Audio department, Hellraiser and Hellbound have received uncompressed PCM Stereo 2.0 and DTS-HD MA 5.1 tracks. All the groans, creaks and screams come through clear without any distortion. The obvious ADR is made all the more apparent, but that’s a production thing. Christopher Young’s operatic scores come through with great range. The 5.1 tracks are kind of a disappointment, as there’s not as immersive as one would hope. They’re still good and have that ‘oomph’ to them, but aren’t going to be a revelation. As for Hellraiser III, we just have the PCM Stereo 2.0 track. This one is also clear, with the appropriate accents in places. And as is the case, the explosions and gunshots all come through with the appropriate punch.

Supplements:

Arrow work their magic with each of the films, providing enough extras to satisfy fans. For Hellraiser, we get director Clive Barker’s Audio Commentary carried over from the Anchor Bay DVD. Barker is always fascinating to listen to, and here it’s no different. He covers the production, the original source material, and his experiences making the film. Also carried over from Anchor Bay’s DVDs is the second Audio Commentary with Clive Barker, writer Peter Atkins and actress Ashley Laurence. This one overlaps information with the previous commentary, but it’s more lively with the additional participants, and has some new info.

The big goodie is the nearly 90-minute documentary ‘Leviathan – The Story of Hellraiser’. Previously only available in a 3-disc PAL DVD set, this is an exhaustive coverage of the production, with interviews new and old and tons of anecdotal information. Definitely a comprehensive look at the film.’Being Frank: Sean Chapman on Hellraiser’ is a new interview with Sean Chapman on his career prior to Hellraiser, his character of Frank in the film and how he approached it, and working with Barker. Fans of the film know about the abandoned score by avant-garde industrial band Coil. Well, ‘Soundtrack Hell’ covers just that. Former Coil member Stephen Thrower talks about how Barker was enthralled with the band’s score, the process of creating the score and its inspirations, and how it was ultimately rejected once American money started being put into the production (read: Not commercial enough). What’s cool is that the featurette contains brief snippets of scenes from the film accompanied by Coil’s score in the background. Quite the stark departure from the orchestral score by Young.

Rounding out the featurettes are holdovers from older Anchor Bay discs, including ‘Hellraiser: Resurrection’ (an older making-of piece involving input from Barker, Laurence, Bradley and others), ‘Under the Skin: Doug Bradley on Hellraiser’ (Bradley talking about his working relationship with Clive Barker, and his work on the first film), and the film’s Original Electronic Press Kit. Also included are three trailers (including the international trailer with Oliver Smith’s voice as skinless Frank prior to redubbing), three TV Spots and an Image Gallery.

On to Hellbound: Hellraiser II, which starts off with two Anchor Bay Audio Commentary holdovers. The first, with director Tony Randel and writer Peter Atkins, has the duo talking about production, and the response to the film. The second has Randel and Atkins joined by Ashley Laurence, which covers much the same material as before, but is made more livlier with Laurence’s inclusion.

The second part to the Leviathan documentary is here in ‘Leviathan: The Story of Hellbound: Hellraiser II’. This two-hour documentary again throws everyone involved with Hellbound in here, and covers every aspect of the production. It’s incredibly informative and exhaustive as the first part, and definitely worth watching. Sean Chapman is back again with ‘Being Frank: Sean Chapman on Hellbound’, where he talks about his scene in the film, and how working with Randel differed from his experience with Barker’s direction. ‘Lost In The Labyrinth’ is another holdover from earlier DVD releases, and features input from from Barker, Atkins and Randel, as well as actors and the production crew. It’s more of a historical piece, since much of the same information is explored in other featurettes. ‘Under the Skin: Doug Bradley on Hellbound’ again has Doug Bradley being interviewed, this time talking about his time working on Hellbound, as well as his role as Pinhead. Following that are vintage On-set Interviews with Clive Barker, and the Cast and Crew. Barker talks about his role with the film, while Tony Randel, Clare Higgins, Imogen Boorman and Kenneth Cranham talk about their roles. Rounding things up is a quick Behind the Scenes Footage featurette that focuses on the makeup effects.

The big find for Hellbound is, of course, the long-lost Deleted Surgeon Scene. We already posted the video for all to see earlier in the year, but it originated from this boxset. Again, it’s rough, with no post work. It’s understandable why it wasn’t included in the final film (since it makes little sense), but like the Producer’s Cut of Halloween 6, it’s cool to see a long-rumoured piece of history finally being its due. Rounding things out for the disc are two trailers, two TV Spots, and three Galleries.

On to Disc 3 for Hellraiser III, which again starts off with two commentaries. The first is brand new for the Theatrical Cut, with writer Peter Atkins and Michael Felsher. Atkins talks about the franchise, and the genesis of Hell On Earth, including how Hickox joined the production. It’s another informative track that has makes up for the film’s shortcomings. As for the second commentary with the aforementioned director Anthony Hickox and actor Doug Bradley, it’s reserved for the Unrated Cut. This is another ported Anchor Bay track, and are very informative and lively.

Speaking of the two cuts, you have the option to turn on the Unrated Cut in the Extras menu, which as mentioned before, is cobbled together from a pan-and-scan LaserDisc and the Theatrical Cut. More shots of gore and the first scene were added, as well as some scene extensions.

Not to be left out, the same company that did the Leviathan documentary decided to give Hellraiser III a documentary of its own entitled ‘The Story of Hellraiser III’. Featuring interviews from Ken Carpenter (who played Doc Fisher/Camerahead Cenobite), Doug Bradley, producer Christopher Figg, Hellbound director Tony Randel, writer Peter Atkins and others, the documentary covers the inception of the film (including New World Pictures’ bankruptcy), the production (and the difference between filming in Britain versus this now American shoot) and the response to the film. It’s obviously not as extensive as the previous documentary, and there’s also quite a bit of criticism being tossed the film’s way (Randel felt that the producers were “cheapening” the franchise). It’s not exactly the lovey-lovey “time heals everything” doc, but it’s still very interesting.

Following that are a couple of new interviews. The first with Paula Marshall (who played Terri in the film) has Marshall talking about her career, how she became involved in the production, her character in the film, and her thoughts on her Cenobite makeup. The other interview is with Anthony Hickox, which is another holdover from Anchor Bay. Hickox talks about shooting the film, the casting for the film, and his relationship with Peter Atkins.

Doug Bradley shows up again in ‘Under the Skin: Doug Bradley on Hellraiser III’. Bradley talks about the original concept of Hellraiser III, the legal circus that ended up happening with the rights once New World Pictures went belly-up and other tidbits.

Rounding things out are the film’s original EPK, over twenty minutes of FX Dailies (no sound, though), the film’s Trailer, and two Galleries: One a comic adaptation of the film, and the other consisting of stills and promotional material.

Disc 4 is entitled ‘The Clive Barker Legacy’, and is for fans of Barker. Included are Barker’s two short films, ‘Salome’ and ‘The Forbidden’, both of which I covered here as part of the Clive Barker’s Origins DVD. Besides the upgrade to Blu-Ray, these shorts have the option to watch with their own introductions. The quality is about the same as they were on the DVD, so don’t expect any revelatory restoration work.

‘Books of Blood and Beyond’ has author David Gatward talking about Barker’s novels and short stories, as well as what makes Barker’s writing so distinctive from similar authors. ‘Hellraiser: Evolutions’ is another new documentary with interviews from Barker’s contemporaries (including Brian Yuzna, and the writer of Hellraiser: Deader, Neal Marshall Stevens). The doc covers the evolution of Pinhead throughout the films, as well as the character’s backstory and his popularity. Also covered is how the producers attempted to make the first film more “American” by redubbing some of the actors, which was easier than thought, given much of the film takes place inside the Cotton house.

Finishing off the disc is another goodie for the fans. ‘The Hellraiser Chronicles: A Question of Faith’ is a 2005 short film by RN Milward. Part fan film, the short was made primarily to demonstrate the potential of a possible TV series. Given the rough production values (and obvious subject matter), it’s safe to say that there’s a good reason why the idea of a TV series never came to fruition. Also included is the ability to watch the short with optional commentary by Milward.

If you thought that was everything, Arrow went the extra mile to add even more to the set. Included in this Limited Edition is a 200-page hardcover book entitled ‘Damnation Games’, written by Barker archivists Phil and Sarah Stokes. Full of on-set photos and illustrations, the book covers Barker’s short films and plays, the production of the first three films, and the development and appeal of the Cenobites themselves. The original press kits for the three films are included at the end, as well as the details on the restoration of the three films. This is on top of the poster of the illustration of Pinhead on the front of the boxset, and five art cards showing off the Cenobites from the three films.

The whole package is assembled in gorgeously-illustrated cases that stack into the wonderfully-illustrated box, which has an interesting diamond opening to show the spines of the cases on the one side. They could’ve gone the route of the old Lament Configuration boxset, but that’d just be derivative. Plus, this fits much nicer on your shelf.

Bottom line, while the quality of the third film may be up for debate, this boxset is absolutely stacked. Arrow Films have done an amazing job cobbling together extras both new and old to cram onto these discs, and have given us spectacularly-restored transfers of these films. Sure, there are some things that are obviously missing (such as older interviews, trivia tracks, etc), but that’s more than made up for by the Leviathan documentaries. One of the best releases this year. If you’re a fan of these films, get it.

The post [Blu-ray Review] Arrow’s ‘Hellraiser’ Scarlet Box Has Such Sights to Show! appeared first on Bloody Disgusting!.

The town of Leffert’s Corners has been plagued by unearthly beings for decades, and now there is only a few people left, including the local priest and a woman traumatised by the death of her sister. But when John Martense turns up to claim his illicit family fortune, with bad guys in pursuit, the last stand had become a lot more complicated….
What everyone is not aware of are the humanoid creatures lurking underneath the holy grounds!

Lurking Fear stars John Finch, Blade Adams, Ashley Laurence (Hellraiser), Jeffrey Combs (Re-animator), and Vincent Schiavelli (Lord of Illusions).!<--more-->

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There are countless essays, opinions, and thought pieces about women in horror. If you want to dive more into that world, I highly recommend checking out BJ Colangelo’s Day Of The Woman, which is all about “the feminine side of fear”.

So, today let’s talk about some of the most awesome leading ladies and their roles in horror! I’ve got a few of my picks ahead and then I want you to tell me yours in the comments below!

The post Who Are Your Favorite Female Leading Roles In Horror? appeared first on Bloody Disgusting!.

“Happiness In Slavery” landed at #2 in my Top 10 Nine Inch Nails Music Videos list.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post Nine Inch Nails’ “Happiness In Slavery” Mixed With Hellraiser II Visuals appeared first on Bloody Disgusting!.

When visual effect artists make the transition to director, their first efforts are generally predictable. The story isn’t thought out, the acting is mediocre, and the creature/killer/nasty antagonist looks impressive. Lightning Bug is visual effects artist Robert Hall’s (Laid to Rest, Chromeskull) first film and it doesn’t fit into that pattern at all. It’s not even a horror movie; it’s a funny and heartbreaking story about a young man trying to find his way in the world. It’s a very personal story with good performances, interesting characters, and an unexpectedly mature level of restraint on the director’s part.

Lightning Bug is the semi-autobiographical story of its writer/director Robert Hall. Young horror movie devote and aspiring special effects artist Green feels out of sorts with his life in rural Alabama. His mother has a tendency to attract the wrong kind of man, with the latest catch being an abusive alcoholic named Earl. As time goes by, Green develops his skills and scares the man running the local Halloween haunted house. The stunt gets Green the chance to make the scares for the upcoming holiday attraction which is already under scrutiny from the town’s religious community. Green also starts a relationship with Angevin; a video store clerk who loves horror movies and harbors a painful secret. Green has to find the strength to pursue his dream while facing opposition from Earl, Angevin’s unexpected revelations, and the very religious townsfolk.

Lightning Bug is a surprisingly touching story about dealing with adversity and finding your place in the world. Green’s talents aren’t welcome in his step father’s home, nor are they embraced by the extremely religious townspeople. His struggle makes for some great drama, as it seems like the world is against Green and his passion in life. The characters are multifaceted people who grow in unexpected ways and make realistically surprising decisions. Their believable lives and personalities give character to the town, making it feel like a real small rural town.

The violence and gore shown in Lighting Bug are handled in a smart way. The makeup and special effects Green develops are shown in a silly, over the top manner. The very real domestic violence and murder is always presented as jarring, harmful events that shake those affected to the core of their being. The monster stuff is clearly fake and safe while the realities of Green’s home life are brutally matter of fact. It’s a very mature and restrained way of handling the material that usually comes from someone with a little more experience. But, Robert Hall pulls it off and brings out the dramatic potential of the material.

The cast is great and balances the sweet coming of age moments with the moments of horrific traumas. Brett Harrison is affable and intelligent as Green, all while giving him a strength of will that makes you cheer for him. Laura Prepon is friendly, charming, and mysterious as Angevin. Her heavier story beats are handled deftly, making Angevin’s secret plight feel real instead of melodramatic. Kevin Gage as Earl alternates between surly and vicious, making Earl’s drunken mood swings all the more jarring. There’s also a fine performances from Hellraiser alum Ashley Laurence as Green’s mother; a loving matriarch that can’t pick a man to save her life. The supporting cast is a capable collection of actors that help flesh out Green’s world.

Lightning Bug is a real gem in Robert Hall’s filmography. It’s a movie with a lot of emotional heft that also enjoys reveling in the little joys and moments of laughter life brings. There’s a good showing of Green’s abilities (and therefore Hall’s abilities), but never to trivialize the instances of true, horrific violence. The movie is a great showcase for what Robert Hall can do as a story teller and a filmmaker.

Audio/Visual

The Blu-ray transfer was not a success. The video looks stretched and slightly pixelated in HD. The audio also suffers from the transfer; it’s very low and needs to be turned up quite a bit. If you’re thinking about buying this movie, don’t buy it with high hopes for your home setup.

Extras

There are a lot of meaty extras on the Blu-ray. The disc has two commentary tracks; one with Robert Hall and the other with Hall, Producer Lisa Waugh, Executive Producer/Actor Laura Prepon, and Ashley Laurence. There are deleted scenes, behind the scenes features, trailers, and a music video. But the really great extra on the disc is the alternative, longer cut of the movie. This extended version adds about 15 minutes in scenes that help fill out Green’s world and motivations a little better than the theatrical cut. There’s also a character completely cut out of the movie; Green’s mentally unbalanced Uncle Marvin. Played with game humor by Revenge of the Nerds actor Donald Gibb, the Uncle Marvin scenes added some much needed levity to Lightning Bug. The longer cut, whether you agree with the edits or not, provides an interesting look into the evolution of Hall’s movie.

Official Score: 4/5

The post [Blu-Ray Review] ‘Lightning Bug’ is the Funny and Heartbreaking Story of a Horror Fan with a Dream appeared first on Bloody Disgusting!.

The song comes from the band’s 2010 album The Unholy Manipulator (iTunes). Product Of Hate will also be opening up for Lamb of God on Nov. 9th at The Rave in Milwaukee, WI.

Lead guitarist Geno Rathbone states, “Working with Robert Kurtzman was a huge honor for all of us, given his enormous body of work that we practically grew up on. As a band from Southeastern Wisconsin, suffice to say there’s been more than a few nights spent watching plenty of horror movies over the years, many of which Bob has contributed to. He’s assembled an incredible crew at Precinct 13 Entertainment/Creature Corps, and being able to watch them work was really something special. We wanted to create a throwback music video, but more of a short film or longform piece that could be fun for both the metal and horror communities. Prior to shooting, our producer, Scott Licina really pulled the project together, and it was through him that Ashley Laurence became involved. To have such an iconic figure in the horror genre become the face of our short film was something completely unexpected. A few tweaks to the overall story were tailored to Ashley as she appears as herself on DVD cases in the ‘real world’ sequences, and as those boxes and posters state on their tagline – ‘Ashley Laurence is The Unholy Manipulator’ when we enter the fantasy world. In the end, she did a hell of a job kicking some ass on-screen, and looked great while doing it. The whole thing was shot over the course of three chilly days near Kurtzman’s home base in Crestline and Galion, Ohio under the direction of our friend, James Zahn, who insisted on having a tree shredder involved.”

Product Of Hate recently released two new singles, “Revolution of Destruction” and “A Well Deserved Death.” The band will be returning to the studio this winter to record a trio of new tracks. Product Of Hate is currently unsigned and has been actively seeking a label partner for the release of their planned 2013 full-length, after which, the band would like to hit the road and tour indefinitely.

Product Of Hate on-line:
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“Revolution of Destruction” (iTunes)
“A Well Deserved Death” (iTunes)

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post [Exclusive] Product Of Hate “The Unholy Manipulator” Music Video Premiere Feat. Hellraiser’s Ashley Laurence appeared first on Bloody Disgusting!.