Hellraiser - Renascido do Inferno

Regardless what mainstream critics/reviewers are saying this film was a pretty disaster. Pretty because the production value was decent, more so than the plethora of previous sequels to the franchise. However, the acting, plot, storyline, overall horror is lost entirely. They completely changed anything that made Hellraiser what it was, the lore has been completely changed. Gender swapping Pinhead is also pointless, Doug Bradley will and is the only Pinhead. To be honest this is no surprise given Disney/Hollywood can't reboot/imagine anything new and only ruin franchises now. Waste of time don't bother.

It's a shame that studio executives completely disregard fans and the original source material, when ever considering to remake, or reboot a title. It's not shocking either to see Disney is going doing a terrible rabbithole in ruining classic titles. At this stage it's best to simply watch the first two Hellraisers, Hellraise 3 and 4 are moderately decent sequels. Anything beyond this point was a simple cash-grab or purposefully made to retain the title by the studio so it wouldn't expire.

Keep away. 0 / 10.

Riley McKednry (Odessa A'zion) is a young woman struggling with addiction enabled by her supposedly rehabilitating boyfriend Trevor (Drew Starkey) while she lives with her brother Matt (Brandon Flynn) and his boyfriend Colin (Adam Faison) with Matt's patience with Riely's addictive personality growing increasingly thin. Trevor convinces Riley to accompany him to an abandoned warehouse that supposedly holds an abandoned and forgotten shipment belonging to some billionaire, but once they get there the shipment turns out to be a puzzle box whose value Trevor is dubious of. After Riley comes home drunk once again Matt angrily tells her to leave and she does so taking the puzzle box with her and inadvertently opening the box and summoning demonic creatures known as cenobites. As Riley did not cut herself on the box as she was intended to, the Cenobites demand "another" and when a now called Matt attempts to come to Riley's aid he cuts himself on the box and is taken by the cenobites. Riley attempts to track down the origins of the box and a way to bring back Matt which leads her to the box's previous now deceased owner Roland Voight (Goran Visnijic), a ruthless businessman with legendarily sadistic appetites as the box continues to claim more victims.

Following the release of Hellraiser: Bloodline, Clive Barker remained uninvolved with the series as it continued in a streak of direct-to-video installments legendarily known for taking unrelated scripts and reverse engineering them by inserting Pinhead. Barker announced in 2006 following the release of Hellworld his intent on remaking the series with rightsholder Dimension films. The remake went through a revolving door of directors and writers to the point that two obligation sequels, 2011's Hellraiser: Revelations and 2018's Hellraiser: Judgment were rushed into production just so Dimension wouldn't relinquish the rights. Following the collapse of the Dimesnion's parent company The Weinstein Company, Spyglass Media acquired the remake rights with Barker producing alongside David S. Goyer who would write the initial treatment. David Brucker, director of well regarded horror films The Ritual and The Night House became attached to direct with Bruckner's writers on Night House Ben Collins and Luke Piotrowski coming aboard as well. Now dropping on Hulu just in time for Halloween, Hellraiser breathes new life into this long neglected franchise and makes it the best incarnation we've seen since at least Hellbound: Hellraiser II.

Odessa A'Zion is really solid in the lead role of Riley and while the character is a little abrasive upon first introduction, I feel the movie really understands that cycle of addiction that becomes hard to break out of and Riley's addiction is a massive part of what makes this movie work as it's well integrated with the Hellraiser Iconography as Riley's obsession and repeated usage of the Lament Configuration much like her addiction leads to pain and suffering of those around her be they casual contacts, friends, or loved ones and while Riley doesn't want to hurt anyone, her drive to find her brother follows the same mindset in finding her next "fix" where she finds herself indifferent or uncaring of the consequences and only able to focus on that immediate gratification of her obsessive drive. Jamie Clayton takes on the mantle of Doug Bradley in the role of Pinhead (aka The Priest) and Clayton is phenomenal in the role as she captures the cold look and feel we associate with the character but is still allowed to make it her own.

The art direction in this movie is fantastic. While the original Hellraiser's cenobites have ingrained themselves in popular consciousness for good reason with distinct looks, this new Hellraiser keeps the same general idea of the Cenobites but goes some unique directions. For one thing unlike the original Cenobites who sported dark black leather attire, the only thing on the Cenobites this time around is skin, but the skin has been mangled, mutilated, and twisted so it's now arranged similar to the outfits of the original film but it's a nice way of giving visual distinction, so it doesn't just copy the aesthetics of the original film. The movie also features a wonderfully designed manor house belonging to Roland Voight and it's a sight to behold as it is based heavily around the designs of the Lament Configuration and is wonderfully used in the climax. The one thing that keeps this movie from being as good as the first Hellraiser in my opinion is in its usage of the character of Roland Voight. While Voight is given a great introduction in the opening sequence, he's unfortunately absent for a good chunk of the movie and this does a disservice to the film in my opinion because it forces Pinhead to take more of a role in the antagonist part of the story than should be necessary. Now it doesn't go to the level of Hellraiser III where it jumped off a cliff and made Pinhead a borderline Freddy Kruger clone, but the best Hellraiser films keep Pinhead in a supporting capacity and they mostly do that here but not as much as they should. Personally I feel the movie would've benefitted from seeing Voight as much as we saw Frank Cotton in the original film, but it's not a deal breaker and Pinhead isn't made the made antagonist so the movie does understand where Pinhead's role in this story should be.

Hellraiser is a welcome reboot of this legacied horror series and is easily my second favorite of this series behind the original. Anchored with strong performances by A'zion and Clayton, the movie gives you everything you want from a Hellraiser story with some disgustingly good Cenobite designs and kill sequences along with truly epic sequences that feel like expansions on the Hellbound environments. While Goran Visnjic is good as Voight, I feel he is underutilized, and the movie could've been improved from having him be a more prominent part of the story. Overall if this is the launch point for a new series of Hellraiser movies, then let them flow forth like the blood and viscera in the kill scenes.

My latest watch, I actually watched twice because I wanted to give it a fair shake. In a nutshell, the 2022 'Hellraiser' reboot just does not have enough spark to reignite the fire in the franchise. While I won't say Jamie Clayton did a bad job, her pinhead was more quiet and reserved which really made miss Bradley's deep voice and imposing figure. There was a genuine lack of sex and grit and the majority of the time the cenobites were on screen it was dark to the point of annoyance. This is NOT a movie inspired by grungy BDSM clubs in NYC. The story was okay with a bit of a cliche ending, and it could have used more editing to cut down on the runtime. All and all 'Hellraiser' was basically like digging up a beloved friend, reanimating their corpse, and then sending them back to their job at Wawa. Personally I would never bring someone back from the dead merely for the promise of mediocrity.

I find it odd that people are losing attention spans yet movies are getting slower and slower to getting to their point.

The original Hellraiser was like an exciting and very creative visual unfolding of hell. It SHOWED you the journey instead of telling you. It took place inside a good man's home who had a loving and strong relationship with his daughter. It made us care and relate.

It made you feel like you were inside its hellish world.

The reboot is like someone overly talking and explaining Hellraiser to you until you become bored and don't even care anymore. It takes place in many locations around a lazy junkie type girl who we don't care about.

This one makes you feel like an outsider just hearing about its world.

When did movies forget that they are a mainly a visual medium that require more well-rounded people that most of us can grab onto?

They turned Hellraiser into a vanilla Freddy Krueger inspired slasher, which makes for a very watchable if unmemorable experience.

Some of the ideas, even if borrowed, were convincing : the mansion, the dumb rules, the drug allegory. And some true Hellraiser concepts and visuals like the Leviathan moment were particularly well done but no spoilers here.

The most disappointing was probably the Cenobites design way too elegant and Alien like, not gruesome or surreal enough. Plus the characters deaths felt like generic gory horror à la SAW or Escape Room. It was missing a sense of spectacle and boldness despite having clearly a decent budget.

Still an enjoyable movie.