the groundhog day project

Now, we move beyond the actual Hellraiser sequels past Bloodline because they are, well, not good. Instead, the spiritual sequel-- Event Horizon . Let us get the negatives out of the way: as io9 says, " Event Horizon commits many flagrant fouls when it comes to ripping off other, better films (including, but not limited to, Alien , The Shining , 2001: A Space Odyssey , Solaris , Hellraiser , and The Haunting )." Of course, that same io9 article claims that the film "tanked" at the box office. It was #4 its opening weekend, covering $9 million of its $15 million budget. The next weekend, it would drop to #11 but would still make another $4 million, another #3 million its third weekend, another million its fourth. Sure, its not blockbuster numbers, but I'm not sure that quite qualifies as tanking . Plus, I was there opening weekend, and I think I may have even seen it a second time in the theater. So, regardless of the facts, I just don't feel a tanki...

What follows may end up as just a play-by-play, so allow an introduction of sorts: Kevin Yagher was a first-time director when he worked on Hellraiser: Bloodline . The final film is credited to Alan Smithee. If you do not know who Alan Smithee is, that is the name a director puts on a film when he wants his own name taken off. Usually that means studio meddling or something similar has altered the movie so much that the director--Yagher in this case--no longer wants the film to be considered his (or hers). The interesting thing to me, in regards to Hellraiser: Bloodline , is that the director that the studio brought in to finish Yagher's unfinished film was Joe Chapelle, director of Halloween: The Curse of Michael Myers , the original ending (the so-called Producer's Cut) of which had to be reshot because of bad test screenings. Anyway, Yagher had disagreements with the studio and producers over how Hellraiser: Bloodline should go, he left (READ: was forced off) the producti...

The thing about the Hellraiser franchise is is started as something different from other horror films. It wasn't just about a string of murders like a slasher film, or some last-minute empowerment of the "Final Girl" to kill the monster. Clive Barker has an interesting take on monsters that he shares with Nigel Floyd of Time Out magazine, September 2-9, 1987: I write the kind of horror fiction in which the monster has to be made peace with, one way or the other. Within the metaphorical world which I create it's not possible to throw the monster out and assume that one's house has been purged. The house can never be purged, because the monster is part of the texture of our internal workings. It's the metaphor thing. Like your classic ghost story, Hellraiser is not about the Cenobites but about Julia and her relationship with Frank, what she will do for him. Hellbound is not about the Cenobites or even Leviathan and Hell; it's about (again) Julia and...

Jason Voorhees in chains, his hair a frizzy (grey?) mess. Nice start—would have been even cooler if they didn’t have the onscreen descriptions of where we are and why he’s there. It’s not a crawl, but on a Red Letter Media “ Best of the Worst “ video this week, they were talking about how film crawls usually set the world badly, give too much information and/or information you just don’t need. Any audience going to see Jason X would have been quite likely to know who Jason is, and we’d figure out what was going on. A little more showing us, a little less telling us. By the way, I link this movie to Hellraiser: Bloodline in my memory, as if they came out around the same time—a couple horror movies set in space (I also connect them both to the bit in Halloween 5 when they talk about Michael Myers in space.) —but they were 6 years apart, Jason X being the later of the two. (Shuttle looks like a wingnut.) Saw Hellraiser: Bloodline at a test screening, if I recall correctly. Mi...