Hellraiser II, puerta al infierno II

After the strange events of the first movie,Kirsty is sent to a Institution for the Mentally Sick, commanded by the mysterious Dr. Channard,a crazed psychologist who is willing to open the doors of hell by manipulating the Puzzle Box.In doing so,Channard brings Kirsty's perverse stepmother Julia back to life,and consequently he provokes the rage of the dreadful cenobites,the cruel and evil creatures that give pleasure and pain in the same measure.Hellbound Hellraiser 2 is an extremely well-done film,thanks to the generous budget given to newcomer filmmaker Tony Randel and a first-rate production.The special effects are simply terrific (specially considering the time in which the movie was done,1988) and they create a bombastic,scary visual.I never saw a movie with such an incredible scenery and imagery,except maybe for Dark City.Clive Barker's vision of hell is brought to life with mastery through the work of Randel and Director of Photography Robin Vidgeon. The plot sustains the tension and keeps you on the edge of your seat from start to finish,though the first half hour of Hellbound: Hellraiser II is a little bit slow and descriptive (but never boring); a great portion of the action and the terror is concentrated in the last minutes. The last thirty ones are a realistic and gutsy "tour de force" through fear,violence and suffering.This is definitively a masterpiece, but not for the squeamish.Hellbound: Hellraiser II is rated R for extreme violence and sex scenes,it runs 99 minutes(uncut version released by Anchor Bay).It stars Clare Higgins as Julia, Ashley Laurence as Kirsty, Imogen Boorman as Tiffany,William Hope as Kyle McRae and Kenneth Cranham as Dr. Channard.If you like this movie, you might also enjoy Phenomena and Suspiria.

The best thing about 'Hellbound: Hellraiser II (1988)' is its music; Christopher Young's fantastic theme is still a stand-out in the genre. The second best things about it are the numerous flashback sequences (the picture begins with an abridged version of the prior title's finale and its key points are also recalled by the protagonist later in the film), which serve not only to refresh the audience's memory but also (quite accidentally, I'll add) to remind them how much better the first flick is than this one. The feature isn't bad but, as you can probably tell, it isn't a patch on its predecessor. That's primarily because, despite its arguably more ambitious plot and accompanying aesthetics, it's simply more straightforward and, thus, isn't as interesting. Where the first flick played on the duality between the different types of evil that its two antagonists (Frank and the Cenobites) represented, this one reduces all of its villainous players to almost cardboard cut-out versions of themselves and portrays them as these much more generic 'demons' than previously seen. This removal of nuance is one of the major reasons that the villains just aren't all that frightening. The one area in which they are developed actually reduces their enigmatic nature, in turn further reducing their scariness. At this point, the filmmakers still hadn't realised the potential that Pinhead (now credited as such) had to lead the franchise as its pinnacle of pain, so he and his Cenobite cronies have arguably even less screen time than they did in their previous outing. They're also, as I've mentioned, decidedly less disquieting. Their scenes, though atmospheric, lack any sense of menace and the fact that a large portion of the piece takes place in their domain without them present makes them seem far less important than they ought to. Other issues with the movie include a messy, even slightly repetitive plot and a couple of weak characters. Having said all that, it's not as though the experience is exactly bad or anything. Its positives include some decidedly disturbing, undeniably inventive visuals and a generally ambitious, otherworldly aesthetic that must have took some skill to pull off. It's visually interesting, that's for sure, and it has a few sequences which are quite entertaining in their own right. The picture is also well-paced and generally enjoyable, even if it isn't all that compelling. It isn't scary or thought-provoking, but it's a decent attempt at dark fantasy/horror that's as ambitious as it is uneven. 6/10.

This is just as good as the first one. The movie went in a fast pace. In a way I liked that. The scenes of hell were really neat looking. One of the best I've seen yet. I'm not going to say who, but a new Cenobites is in the movie, but he's not in there too long. You find out a little more about Pinhead in this one, but if you really want to know his history watch the third one. Anyway I liked this one. It is different than the first one.

I recommend this movie to anyone who liked the first one and likes a really good horror movie.

Thus far and no further is how I view this film - while 'Hellraiser' was a smooth and well-handled interpretation of 'The Hellbound Heart', this serves as an interesting extension to that story. OK, the acting is largly dire - but is this not a horror movie tradition? The film excels in its MENTAL imagery, not physical: Tiffany's disturbing visions of babies with their mouth's sewn shut as Leviathan plays with her fears; Channards violent, acid flashback-style memories... they are all insightful and well-thought out as they deal with that which cannot be tamed easily - the human psyche. Director Tony Randall has a lot to live up to following Clive Barker's '87 epic, but he takes the reigns of the story with good grace and presents a slick and progressive tale - although I do agree with the general consensus that the Cenobites should NOT have been humanised.

All in all though a great film, fantastic visuals - the fall of Leviathan at the climax has to be one of the most gripping and explosive deaths of a movie monster in horror film history - and one which should have ended the tale.

Kirsty Cotton (Ashley Laurence) survived the first attack from Hell in "Hellraiser", but her troubles are far from over. She is now locked up in a mental ward run by an occult-obsessed doctor (how appropriate) and her evil stepmother, Julia (Clare Higgins) refuses to stay dead.

This film is incredibly polarizing, I fear, because it has such strong qualities of both good and bad. The bad include special effects that really date the movie (though are still superior to much of today's work) and the introduction of a certain level of silliness that pervades the later films. The doctor as a cenobite is a bit strange in form, and opens the door for the even more bizarre creatures in part three.

There are some plot and continuity issues, such as wondering where Kirsty's boyfriend from part one went. And while the film seems to try to explain loose ends from the first film, it creates a whole lot more... the maze (presumably hell) is not adequately explained, nor is the role of the giant puzzle box. While some of this is addressed in later films, it seems that what we learn later tends to contradict what we see here.

But let us say some good things about this one. First and foremost, the Julia without skin looks incredible. It is hard to say they topped Frank without skin (from the original) but I think they did. The way she comes crawling up out of the bed... her blood-soaked flesh. Beautiful. "Right to Die" owes a huge debt to the work in this film, the same way that this film owes a debt to "Bride of Frankenstein" with its use of thunder and bandages...

We also have to give the gore creators some credit, because the insane man with the knife was pretty intense... actually, all the asylum inmates are well-played. For all the flaws this film may have, they more than made up for it with a couple of memorable scenes. While my favorite in the series is "Bloodline" (I believe I am in the minority on this), I think part two may have been the last great addition. Sequels were not necessary, and obviously everything after part four just gives the franchise a bad name.

Anchor Bay has released a twentieth anniversary edition, and I would strongly recommend it. Older features, such as an audio commentary from 2001, are available, as well as a few new featurettes. "The Soul Patrol" features new interviews with Barbie Wilde, Simon Bamford and Nicholas Vince. "Outside the Box" features a new interview with director Tony Randel and "The Doctor is In" features a new interview with Kenneth Cranham.

As someone who has met Ashley Laurence, Doug Bradley, Clive Barker and each of the cenobites, I have a strong personal interest in this film. I can say that the Anchor Bay edition is easily the best to date and any "Hellraiser" fan would be making a mistake in getting an older, inferior edition.