Hellraiser: Hellseeker

Hellraiser: Hellseeker has come under fire from viewers, mostly for the economic manner in which iconic character Pinhead is used. The most refreshing thing about episode six here is that Pinhead goes back to what Clive Barker intended him to be. Sort of the equivalent of the zombies in Romero's Dead films, if you get the drift. For those who don't, the whole point is that what Pinhead does to the principal characters is not nearly as important as what the principal characters do to each other. He is the final hammer when the characters have finished dragging each other down, and that is the way of all the best horror films. The real problem with Hellseeker is its lack of atmosphere. In the original, Barker takes his time to introduce each element, in particular the modest British family whose lives appear as regular as our own. Barker understood that relating to the victims, and even the victimisers to some degree, is a lot more important to an audience than a string of gruesome deaths. Rick Bota tries to provide similar setup, but fails.

It has been a bit of a while since I saw Ashley Laurence in a film, and she is in fine form here. She could probably play this role in her sleep (at times, it almost seems like she is). One problem we have in Hellseeker is that some of the most important moments in her story are missing. In the original, when we saw her open the box, we grit our teeth in suspense as the very fabric of the reality around her dissolved, and her conversation with Pinhead ensued. In the original, these shots showing the cosmetic details of hell served a very important function. They created a sense of foreboding that gave the entire rest of the film foundation. Rick Bota, unfortunately, is not able to pace himself, nor does he have an instinct for when too much really is too much. Characters in Hellseeker behave in ways that telegraph to the audience that some kind of twist is in the offing, and while it is a good twist, it is just an example of the fact that up to a point, hell works best when it is subtle.

Doug Bradley is back for the sixth time as everyone's favourite nail-headed character. Contrary to what some have suggested, I do not believe he is so much cashing a paycheque in this film. I think he is just on autopilot because he can literally play this devious character in his sleep. The sayings, mannerisms, and motions are as natural to him as eating and sleeping are to us. Nobody knows whether it was his idea or Doug's to portray the Satan character as he were once a dapper English gent, but Doug carries it off so well that he deserves an award. As seen in the third, and particularly fourth, films, everything can be going to ruin around him, and yet he will still effortlessly play this mannered gent who just happens to torture people as a job. The other cenobites do not get nearly as much screen time as was previously the case, however, and that also lets the side down somewhat. The sights of Chatterer and whatever that woman called herself really helped sell Pinhead as much as Pinhead himself at times. The other cenobites in Hellseeker are truly token appearances.

They say your hero(ine) is only as good as your villain, and that is certainly the case here. Dean Winters is a great villain, partly because he portrays the character so well, but also because it takes a while for his status as the true villain of the piece to become apparent. One of Clive Barker's great touches in the original is that, to an extent, every victim deserves what happens to them. Most of the film is taken up with establishing why Winters' character deserves what he gets, which makes the final twist of the film especially satisfying. It reestablishes Pinhead as a just, if somewhat peculiar, referee of hell. Seriously, watch parts three, then four, then this one, and try to reconcile each one with the statement made in the second: it is not hands that call us, it is desire. The whole conceit of The Hellbound Heart was that bored lowlifes seeking what they thought of as the ultimate in pleasure sought this box, and opened it only to find that its inhabitants' definition of pleasure varied drastically from theirs.

Unfortunately, not every aspect of the film is well done. The special effects that closed the original Hellraiser were as fake as hell, but the audience bought them because by that time, the film had drawn the audience in. The problem in Hellseeker is that it takes its sweet time to hook the audience, and thus the head-split routine that looks like something I could have done with an old Amiga 500 goes down as one of the funniest effects in horror. It comes at exactly the wrong time, producing laughs when what we needed was to be immersed in the Hellraiser atmosphere a little deeper. Normally, a laugh can be a good thing, especially when it comes at a time when the script or story could use it, but if ever there were a bad time, this is it. With the exception of Laurence, Winters, and especially Bradley, the acting is also high school drama level at best. The loose women, the work colleagues, the doctors, the general passers-by in the street, they all act as blank and vacant as Paris Hilton trying to feign having something relevant to say.

When all is said and done, Hellseeker is a seven out of ten. It is not nearly in the league of the first two films, but it is a massive improvement over three and four. Give it a chance, stop expecting Pinhead On Elm Street, and you might be pleasantly surprised.

This movie, like Hellraiser 5, feels like it wasn't originally written as a Hellraiser movie. I can imagine the following "How about this. You rewrite this script to add in Pinhead, and we'll call it Hellraiser 6.

Those Hellraiser fans will eat up anything".

This movie would be fine as a "Soul Survivors" type movie. But when it's a Hellraiser movie, you expect a lot more.

I say if they're not going to make real Hellraiser movies, don't bother.

Other reviewers (at least the ones I read) must have watched a different movie to me. What I saw was certainly an effort at originality, and yes, it was better than some of the other sequels to the franchise, but that said it was still a below par screenplay, borrowing heavily from other, cleverer, more original films.

Ironically Hellraiser:Hellseeker shares some of the same flawed plot concepts as the movie it borrows most heavily from: Jacob's Ladder. There's the same two tier story running consecutively and along different, mysterious time-lines, both of which fail utterly to fuse into a single coherent time-line at the end of the film. There's the same solipsist nightmare: how can one truly discern between reality and dreams when the dream state feels as 'real' as reality itself? The second movie from which Hellseeker shamelessly borrows is Angel Heart, a masterpiece of cinematic horror featuring Mickey Rourke before his face went to hell (as a result of high living, screwed up plastic surgery and boxing, not Pinhead) and Robert DeNiro. Where Angel Heart is innovative, Hellseeker is simply repetitive and boring. Where Mickey Rourke excels as the confused protagonist in Angel Heart, Dean Winters sleep-walks his way through the role in Hellseeker, and where DeNiro gets all the best lines, poor Pinhead gets some of the most forgettable I've ever heard him utter.

Granted, compared with the other Hellraiser sequels (all bar Hell on Earth, which I have to say I enjoyed more than I or II) this tries something different, and maybe with a better lead role there'd be something there worthy of a couple more stars. But ultimately the confused mess of a plot destroys itself, irrespective of Winters' deadpan portrayal.

I give this rubbish one star for effort and one for the inclusion of Ashley Laurence who, lets face it, should really be above all this by now. Another star for Doug Bradley as Pinhead who never fails to send chills down my spine with his black 8-ball eyes and his tendency to drag nine inch nails out of his own skull.

Ultimately though, Doug needs to share that last star with Clive Barker without whom the world would be a much duller place.

It had been some time since I'd seen the first two Hellraisers, and possibly the third, and I hadn't seen any of the other sequels. It seems like a lot of genre fans have overlooked these sequels as well, for whatever reason, while the Friday the 13th, Halloween, and Nightmare on Elm Street sequels still seem to attract a fair amount of attention.

Local video stores have been selling off most of their videotapes cheaply, so I took advantage of this fact to pick up several of the Hellraiser sequels.

I enjoyed this one. It does feature relatively little of the cenobites, which no doubt may irritate many (though not as much as if they were absent entirely!). The storyline in this one largely revolves around the questions: what happened? and what is real?

I could see possibly picking up the series on DVD at the right price and watching them all through again. I'm disappointed to hear the recent news that they're remaking the first one, though.

This entry in the ongoing "Hellraiser" franchise brings back protagonist Kirsty Cotton (Ashley Laurence) from the first three films. Here she's married to a man named Trevor (Dean Winters, "John Wick"), and as the film opens, they have a car accident after which he loses his memory, and she disappears. Unreality begins to invade his life regularly, with no relief from the horrific images. Gradually, the truth begins to emerge, with Trevor realizing that he was NOT a prince of a guy before the accident.

For a while, this all feels rather familiar and predictable, and is not helped by Winters' bland performance in the lead. But Laurence still has appeal, and some of the supporting actors are good. There is some effective doom & gloom atmosphere, some okay gore (but also some ropey CGI), and decent attempts at surrealism. Use of the renowned Pinhead (Doug Bradley) character is somewhat limited, although you appreciate his presence every time he shows up. His booming voice still issues grave pronunciations on the nature of the situation.

It isn't until near the end, however, as the mystery is revealed, that this does become at least reasonably interesting, and *we* realize that we were being taken on a ride where things weren't as they seemed.

The film is not laden with style, but it's adequately directed by Rick Bota (in his feature debut), whose background was in camera operation and cinematography. At the very least, the sexy supporting actresses (Sarah-Jane Redmond, Jody Thompson, Kaaren de Zilva) are fun to watch.

Filmed in the Vancouver area.

Six out of 10.