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Despite appreciating horror very much (with a lot of classic ones out there, such as 'Halloween', 'Nightmare on Elm Street', 'The Texas Chainsaw Massacre', 'Night of the Living Dead' and 'The Exorcist', plus the best of Hammer House of Horror), even if not my favourite genre, it took me a while to get round to watching the 'Hellraiser' franchise. Due to having so much to watch and review, and the list keeps getting longer and longer.

The film that started the franchise off is not only for me by far the best of the 'Hellraiser' films it also for me, and quite a few others it seems, is one of the stronger horror films of the 80s, though not quite of all time. What is meant by being by far the best of the 'Hellraiser' films is that it is the only one to be above very good, the nine sequels were very variable (leaning towards the disappointing) and the latter films particularly are suggestive of the franchise having run its course.

From personal opinion, while a bit of a disappointment 'Hellraiser III: Hell on Earth' is still watchable and one of the better sequels in the series. Would say actually it is second best after 'Hellbound: Hellraiser II'.

Quite a fair few good things here in 'Hellraiser III: Hell on Earth'. The production were fine, do prefer the nightmarishly Gothic look of the first two films but the film looks very stylish and atmosphere with visual effects that aren't overused or abused and actually a little more polished than 'Hellbound: Hellraiser II'. The theme song is quite memorable, while there are some imaginative and disturbing kills and Pinhead's scene in the church is one of the best in the series, hair-raising and wickedly funny.

Did like the effort to give development to Pinhead and his story is interesting, regardless of whether it fitted within the rest of the film or not. Doug Bradley is genuinely intimidating and Terry Farrell does a decent job.

It is hard however to ignore the drawbacks. 'Hellraiser III: Hell on Earth' lacks the creepiness and ambition of the previous two films, there is a lot of silliness and camp humour and it does undermine any creepiness or suspense and it just feels completely different tonally compared to its predecessors. The dialogue is toe-curling this time and didn't really see any need for some of the gore, which didn't unnerve that much and came over as cheap and gratuitous instead.

Also thought the story, while slightly more coherent than parts of 'Hellbound: Hellraiser II', made little sense and was muddled. The rest of the acting is laughable and the Cebonites are nowhere near as creepy or mysterious. Worst of all is the ridiculously over-the-top and far-fetched ending, that was even more of an incomprehensible parody as the one in the previous film.

Overall, watched and one of the better 'Hellraiser' sequels but could have been better. 5/10 Bethany Cox

In New York City, Pinhead, the puzzle box, and the other Cenobites are trapped in a pillar. J. P. Monroe buys it for his nightclub, The Boiler Room. Frustrated TV reporter Joey Summerskill (Terry Farrell) encounters Terri (Paula Marshall) at the hospital who brought in a victim of the club. She decides to investigate when her story is turned down. Terri turns out to be one of Monroe's many girlfriends and she has the box.

This is the franchise turning into a more standard horror. It has the skin-ripping fun. The characters work. I love Farrell from Star Trek and she's fine as the protagonist. I like the mind games from Pinhead. The WWI dream stuff can be better substituted with an additional character. It's trying to explain the monster when it doesn't need explaining. It does give a final solution which is very important. Honestly, Pinhead is a brilliant monster design. The new ones are pretty cheesy. The camera and the CD Cenobites can exists no other time. They even try some quippy dialogue although Pinhead is undefeated as a character.

Watching this film as part of a four movie Hellraiserthon, I was full of expectation after the brilliance of the first two films. This third venture was a total disappointment, replacing the plot and tension of the earlier films with pretty girls and lots of mindless violence. The only saving grace was the excellent performance by Doug Bradley as a very confident and menacing Pinhead. Personally, I'd watch the first two films many times again, but skip this vacation from quality.

Look, we've already seen what Pinhead can do with his hooks and chains, but how is he back into action?

It makes no sense to go into the details of how Pinhead came back after being destroyed in part two. Through some improbable and convoluted way involving a copper statue, the box, and a pompous night club owner, Pinhead was brought back to life in New York. Now he's in the real world and he is seeking to stay.

A struggling reporter named Joanne "Joey" Summerskill (Terry Farrell) has the box and the ability to send Pinhead back to hell. The way to send him back to hell is very vague and uninformative, but at least Joey understands... I think.

This entire episode was a mess. No one is going to accuse horror movies of being intelligent, but some are dumber than others. Pinhead still desires pleasures and flesh, but the victims this time around are just set pieces, they have no personalities and no true characteristics besides vapidity. "Hell on Earth" went for maximum carnage as though that was an adequate replacement for substance. So many horror movie franchises do that once they get into their third, fourth, and fifth episodes. Their idea wells run dry so they just reach for the body count button as though that will mask the pitiful plot when all it does is make the movie bloodier and dumber.

Here's part three of the Hellraiser Saga... Once again this continues from where the last film ended, though it's a looser connection. The battle between Pinhead (Bradley) and his original human self, Captain Elliott Spencer, allowed him to break free of hells shackles. Entrapped in a monolith, he is awoken by Sandy (Leigh), when an accidental cut splashes blood on his stone features. Revealing himself to JP Monroe (Bernhardt), an unscrupulous womanising club owner, Pinhead makes a deal to free himself from his confines and to help JP to achieve his dreams...

This leads to lots of twists and turns in the storyline as you know you can't trust a daemon. The only thing which stands in his way is an aspiring investigative reporter, Joanne "Joey" Summerskill (Farrell), who's investigating the gory and violent murders which are appearing in the city.

The first thing that becomes evident is the amount of budget available for this film. Instead of being kept within the confines of a house or a hospital, now we're out in New York City. Penthouses, apartments, clubs, restaurants, ally's and streets. The locations are so much bigger. This is good, as it gives scope for a larger story with more hellish violence and gore... and it nearly delivers. Nearly, because the scene where the Cenobites finally take to the streets is actually underwhelming. What was required were a few more Cenobites and quite a few more victims, both pedestrians and police. It's nice to have explosions... I just wanted more.

The acting is okay, Bradley still stands out and is excellent as Pinhead. Farrell does a good job as the reporter. However, it's Bernhardt and Marshall, who plays Terri, who have their bouts of woodenness. The direction too is quite different from the first two, gone are the artistic and atmospheric lighting for a more natural feel. This is okay, but the film does lose a little of its mood and spirit, which added strength to the first two movies. I can understand the need for doing this. If you expand the daemons universe to include a lot more of reality then it stands to reason to get that feeling across would be to lose the more imaginative aspects of the filmmaking. That said there are still quite a few iconic shots, such as the entrance of Pinhead at the club and later in the church, and nicely thought out camera shots and angles.

Though I didn't find it as good as the first films it's still as enjoyable, though for different reasons... and as Pinhead would attain, variety is the spice of life.

Another good thing is that this film actually works as a stand-alone, you only need a vague idea about the previous stories; whereas, Hellbound actually made you feel as though you should have watched the first film before viewing. So for that reason, I would recommend this to all horror fans and newbies alike. This is a well written, structured, and acted film... which has its fair share of tension, fear, and suspense.

I liked the first two Hellraiser movies, they had good ideas and good scary visual, but I did not like Hellraiser III. I think it was made at the beginning of the CGI (Computer Generated Graphics) effects "fashion", but CGI was not yet prepared for a horror movie, at least not with their budget :) Props, make-up and even stop-motion would do a better job.

Oh! And (sadly) there were the new kinds of cenobites. I did not watch this sequel to see what new cenobite would came up, I was expecting a good and clever horror movie like the other ones, but instead I got lame cenobites, bad CGI effects, badly used cliches and a weak story. Sometimes it seemed they were making a bad parody. I even did not want to see the following movies, afraid that they would make dislike the whole series.

Where Hellraiser 1 and 2 were both very dark and very British, Hellraiser 3: Hell On Earth is very Hollywood.

J. P. Monroe is the scumbag, soulless owner of The Boiler Room, a somewhat gothy dance club decorated with morbid art. In his search for more profane objects to add to his collection, J. P. comes across, and subsequently purchases, an odd pillar in an art gallery, which fans of the first two films will have no trouble recognizing. Enter Joey Summerskill, a frustrated reporter who comes across a bizarre death in a hospital emergency room. As she watches, a young man is torn to pieces by hooks and chains that appear out of midair. Eager to discover the story behind the gruesome, supernatural death, and with only one clue to follow, Joey arrives at the Boiler Room and befriends the insecure and abused Terri, J. P.'s ex girlfriend. Together, they discover the history of the Lament Configuration, the bizarre happenings at the Channard Institute and the story of Kirsty Cotton. But it doesn't end there. Joey begins having dreams about a man named Elliot Spencer, a World War One soldier who warns her that evil has been unleashed in the form of his own evil alter ego, the Cenobite Pinhead. Indeed, Pinhead soon breaks free and turns The Boiler Room into a slaughterhouse. Now he wants Joey. But can Elliot Spencer stop Pinhead before Joey is taken to Hell?

This isn't a terrible sequel, really. It's not great, but it's nowhere near as bad as some of the others that followed. There's some nice bloody gore and naked girls, and Pinhead, as always, seems to be enjoying himself immensely, seducing his victims with a smile and making his offer of an eternity of pain seem quite irresistible. His scene with a priest is particularly nasty and blasphemous...and wickedly funny. The storyline doesn't always make sense, there's a lot of unintentionally laughable moments and some of the acting borders on the ridiculous, but all in all, Hellraiser 3 is pretty good cinematic junk food. If nothing else, Doug Bradley alone always makes these films watchable with his flawless portrayal of Pinhead.

6 out of 10.

Although the first 2 were under budget and the SFX were very bad, they followed the original story. Hellraiser and Hellbound were not about nail-biting edge of your seat gags and one-liners, it was about presenting a concept most people are exposed to but do not think of. We are taught that Heaven is where we all want to go to, and Hell is bad, but what if it were switched and hell is what we strived for. Barker was trying to make a twist on Puritian belifes as he feels trapped or banished from "regular" society as can also be seen in "Nightbreed". In Hellraiser, only those that make an attempt will be blessed with "an experience beyond limits... pain and pleasure, indivisible." It isn't about mass distruction and death, it is about people comming to terms with what awaits us after this world.

Even on a tight budget the "real" hellraisers were successful, so a big company, Paramount, thought "Why can't we make $$ off of this thing". So this 3rd attempt had a larger budget and threw a bunch of special effects in, found some witty one-line writers, used Doug Bradley and the box, but never bothered to read anything Clive Barker did. Just because Doug Bradley is Pinhead doesn't mean they know what they are doing. They took a good story and made it into a generic slasher movie. The cenobites didn't even have the corpse like blue skin signifying lack of blood.

It started out OK, but in the middle they made some idiotic decisions: Random people become cenobites (you have to strive to become a cenobite, Frank and Julia never were), these cenobites have CDs and cameras in their heads??!?! WHAT THE HELL??!?!

If you like "Nightmare on Elm Street" and have no clue what the real Hellraiser stories (as in before the movies were even thought of, like in the comic books) this might be good for you, as it wasn't lacking in Hollywood fluff, but for anyone that knows who Grizlard was, this was a disapointing derailment of a good concept.

first of all, Hellraiser III isn't a BAD film. In fact, it's quite good if it would stand on its own. And it certainly is one of the more decent efforts in the overall disappointing decade of the 90's. Compared to the first two Hellraisers, however, it's a bit of a failure. Hellraiser ('87) and Hellbound ('88) were horrorfilms in the purest possible form and my two all-time favorites. There were 4 indicators in those movies that brought them close to being the definition of horror.

1. Creating a unique and utterly morbid atmosphere (through settings, music etc...)

2. Building up an unbearable tension ( the occasional twists etc..)

3. Showing nasty and very bloody sequences in a beautiful way

4. The presence of a true horror icon !! ( in this case...PINHEAD )

Hellraiser III fails to at least 3 of these points...The dark and macabre settings from Hell and the mental institution are replaced by a bar which plays horrible rock music, there's almost no tension to detect and it's a very predictable story. The gore however is still present, but the quality of it doesn't come near the originals. The Boiler Room massacre puts Clive Barker to shame, I think. The whole story know turns around the character of Pinhead. He's more than ever the star of this movie and that almost goes wrong. He talks too much and he even starts to become funny. That certainly isn't good for a horror icon. ( Look at what a joke Fred Krueger became ). Director Anthony Hickox obviously is a big fan of Pinhead and he wanted the movie to be especially about him. Every now and then Hickox tries to link this film to the original story but it clearly isn't his biggest concern. The tapes about Kirsty in the Chanard institute and the dream-sequences where Joey meets Elliot Spencer are too fake and forced. The movie does explain where Pinhead comes from but it certainly isn't stressed enough...

Hellraiser III goes very much over the top near the end and I almost lost my love towards Pinhead after the church scene ! I'm trying to forget that particular part. It really is a shame that this movie is part of the series. If this would have been a new film ( with a new demon ) it would have been an enjoyable, well-made change. But as part of a great series it fails to deliver and you're left behind with a disappointment. This movie was followed by episode 4: Bloodline and a few others after that. The fourth is a surprisingly good attempt to bring back the spirit of the original ones and should be watched directly after the first two. Everything that came after part 4 should be skipped unless you're a die-hard Pinhead fan.

After witnessing a horrific killing, a TV reporter begins investigating a popular night club where the cenobite Pinhead lays dormant.

Hellraiser III stars Terry Farrell as Joey, a reporter who's frustrated with the assignments she's been sent on. After witnessing a unexplainable death, she teams up with Terri (Paula Marshall), a homeless clubgoer, and the two investigate the events of the previous movies as well as a club called "The Boiler Room".

Meanwhile, douchebag club owner J. P. Monroe (Kevin Bernhardt) purchases The Pillar of Souls seen at the end of Hellraiser II from an art show (except the pillar is now completely stone, rather than wood). Unsurprisingly, Pinhead escapes and goes on a rampage throughout the city - which is New York, as opposed to the UK setting of the first two films.

Hellraiser III commits the sin of being generic as... Hell (pun intended). The nightmare fueled visuals of the first two installments are gone; instead, Pinhead is dropped into mundane apartments, city streets, a nightclub, and even a field during broad daylight. The film looks like every other early-1990's horror movie.

Story wise, at the risk of sounding redundant, I have to once again invoke the word "generic". The characters are bland; the plot is predictable. Worse, there isn't much horror here. Sure, there's gore, but there's no tension. We're never really worried about any particular character's safety (though that's partially due to how forgettable they are). In fact, I'd say Hellraiser III has more action than horror, thanks to an explosion filled third act featuring a battle with the Cenobites. Speaking of whom...

Unlike the previous movies, Pinhead (Doug Bradley) gets a ton of screen time. This is a problem because Hellraiser III's version of Pinhead is terrible! When he's not belting out awful one-liners, he's always laughing or screaming; the character is insanely over the top. Furthermore, the filmmakers also screwed up the Pinhead's look. The nails in his head are way too big (they're supposed to be pin nails - it's in the name!), there's not enough blueing around the eyes, and nothing was done to his voice in post production. Pinhead is a mockery in this movie; a dollar store version of Freddy Krueger.

As for the rest of the Cenobites, none of the other originals (Butterball, Chatterer, Deep Throat) return. Instead, we get hilariously bad replacements which include a DJ who shoots CDs as a weapon, and one with a film camera for an eye. I wouldn't even call them Cenobites; they're more like Deadites from the Evil Dead series, constantly spouting out one liners. If you didn't know any better you'd think the big action scene featuring these characters was some kind of weird parody.

In summary, Hellraiser III isn't the worst horror movie I've ever seen, or even the worst major franchise sequel I've ever seen. I almost gave it a 5, but upon reflection I couldn't really think of any positives. It's paced well and the story is told in a coherent fashion, but the actual content is pretty bad. Maybe this one will age well in a "so bad it's good" kind of way, but for now I'm giving it a 4. I was disappointed.

...and considering I couldn't find the next 6 Hellraiser movies on any streaming platform and had to shell out $44.99 for them, the fact that Hellraiser III - considered to be one of the better sequels - was a complete bomb isn't leaving me feeling so good about my investment...

I have yet to see Bloodline or Inferno, but Hell on Earth is the worst of the first three Hellraiser movies. It lacks both the wit and the sheer terror of the first two films. What's more, it breaks the rules established in the previous Hellraiser films (that is, Cenobites cannot harm the truly innocent, the Cenobites can be summoned or banished by the box, and so on). And while Pinhead actually spoke very little in the first two films, in Hell on Earth he is downright talky. Unfortunately, only a few of his lines are very memorable. It is unfortunate that Clive Barker did not have more to do with this movie (he wrote and directed the first and wrote the story for the second), as it might have turned out much better.

After the events of the previous film the Cenobyte Pinhead is trapped in a stone pillar along with the cube. This is purchased by arrogant New York playboy J. P. Monroe to decorate his night club; The Boiler Room. The film has a new protagonist; reporter Joey Summerskill. She is brought into the story when she sees a man taken to hospital with chains hooked into his body. The only witness tells Joey that the chains came from the mysterious puzzle box that was in the club. Joey investigates the club and soon finds herself caught up in a nightmare that will see numerous people killed as hell is unleashed onto the streets of New York; only Joey will be able to stop it if she can send Pinhead back to hell.

It must be said that this film isn't as good as the first two but it still isn't bad. The main weakness is that the rules have been changed so that anybody can be a victim of the Cenobytes rather than those who willingly summon them; this is at least explained but mainly it feels like an excuse to raise the body count. As one might expect there are plenty of fairly gruesome deaths; unfortunately some are accompanied by a 'witty' one-liner. Pinhead has a far larger role in this film and we do learn more about his origins; Doug Bradley does a fine job in the dual roles of Pinhead and the ghost Captain Elliott Spencer, the First World War officer who later became Pinhead. Terry Farrell is also impressive as Joey. Unfortunately many of the other cast members are distinctly wooden. Overall I'd say that even if it isn't as good as the first two films it is still worth watching.

The first 'Hellraiser' film of 1987, and even the second of 1988, are dark, violent, and imaginative, and are undeniably classic slices of horror. One naturally anticipates diminishing returns from a long-running horror franchise, but one might also assume that at least the third entry in that franchise might also bear value. In the very least I readily admit I'm a big fan of Terry Farrell, and I know what a good actor she is, and I had high hopes for 'Hellraiser III' on that basis alone. On the one hand there definitely is a great deal to like here, and one sees in this the kinship is shares with the previous works. On the other hand, it doesn't take long after one begins watching that the weaknesses plainly reveal themselves, and the lasting entertainment to be had from this 1992 movie is limited significantly relative to either of its predecessors. I do think it's enjoyable and worthwhile, but 'Hell on Earth' is also troubled in various ways, and it's most certainly a rather mixed bag.

I think the story devised by Peter Atkins and Tony Randel is unexpectedly sharp - well written, compelling, and grim, and above all a vehicle for all the nastiness we anticipate. Even the characters are surprisingly strong, and the scene writing is robust and full of rich flavors in providing foundation for all that the picture will represent. That we actually get some backstory for series icon Pinhead is gratifying, and more so that it's fairly smart. Those operating behind the scenes did outstanding work across the board - superb, highly creative art direction; magnificent and grotesque practical effects, blood and gore, and special makeup (not to mention select instances of stop-motion animation); some sequences are dazzling in their grandiose violence. From costume design to hair and makeup, from sets to lighting, from props to the vibrant cinematography that captures every ghastly detail, there really is much to appreciate here. Randy Miller's original music isn't anything special, but it definitely lends flavor over top of the proceedings; the soundtrack of rock and metal is a total blast. And though they are constrained by various factors, I recognize the skills that the cast bring to the tableau, with Farrell given the most opportunity to shine as protagonist Joey - and to her credit, surely making the most of what she can do in a feature of such unremitting bombast.

All this is the good news, and the last third in particular is harsh, stunning, and striking, a cavalcade of gruesome, highfalutin assault on our senses after another. The bad news is that the dialogue is mostly just plain awful. The computer-generated imagery is pretty terrible, and maybe even subpar by the standards of 1992. There is an unabashed cartoonishness to some death scenes, and the design of the Cenobites here, that's garish and contrasting with the tone 'Hell on Earth' otherwise carries. Anthony Hickox's direction is tawdrily insincere and over the top, reducing the value of some of the best ideas, and unquestionably impacting the acting in turn. Despite her best efforts there are times when Farrell's performance is marked by overblown chewing of scenery or lackluster ingenuousness, as is too often true of co-stars like Paula Marshall, Kevin Bernhardt, and even mainstay Doug Bradley - and I, for one, believe this falseness can be attributed very discretely to the direction. True, there are fewer flaws here than strengths, but the simple fact of the matter is that the flaws are so glaring and pervasive that they amount to far too great a portion of the whole, placing upper limits on the fun to be had in this horror romp.

On the balance I do like 'Hellraiser III,' and I'm glad I took the time to watch. I don't think there's much arguing that it's a step down from the antecedents, however, and the lasting value it can claim is simply lesser. It remains worthwhile and deserving on its own merits, and is best suggested for those who are fans of the folks involved. It isn't exactly a must-see, though, and any recommendation comes with caveats in light of those ways in which it stumbles. Watch 'Hell on Earth,' by all means - but don't go out of your way for it, and be well aware that it has some issues.

Hellraiser 1 was a masterpiece. It turned out to be one of the best horror movies of the 80's (which was a good time for horror if you ask me) maybe even of all time. it was well paced, creepy, and strangely moving. Hellraiser 2 was also a fantastic film. it was one of the very few sequels that are actually as good or better than the original. (this and wayne's world 2). Hellraiser 3... well,it was pretty good. the big problem here was that rather than making him the emotionless figure of pure evil like the first two he was turned into just another bad guy in another horror movie. basically hell on earth was campier, bloodier, trashier, and much more mindless than it's predeccesors. back when it came out it seemed like an abomination, now, when compared to current horror (if you can even call them that) movies it looks like a masterpiece. so overall i thought it was a decent movie, just don't compare it to the first and second.

Cheap looking sequel reduces the complicated Hellraiser and Pinhead legends into your standard Freddy and Jason cliches complete with teenagers running around in distress and discussing their so called problems in between.

This time around Pinhead (Doug Bradley) and a TV news reporter (Terry Farrell) battle it out for possession over a box that can open the gates of hell and end the world as we know it. Not even Bradley's commanding presence can breath life into this.

Unrated; Sexual Situations, Nudity, Extreme Graphic Violence, and Profanity.