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...

No recap as we get into Hellraiser III: Hell on Earth . The plot just gets going. A note as it starts, though: I was surprised to see talk of this film in Shadows in Eden ; I hadn't thought that Clive Barker really had anything to do with this film. I have always thought of the first two as a British... thing, and this one the first... American entry in the series. We're introduced first to JP Monroe (Kevin Burnhardt), who buys a redesigned... the movies never call it this, but apparently, it's called the pillar of souls. That thing with all the faces on it seen at the very end of Hellbound . Anyway, JP buys it for a small bit of cash from an updated version of the creepy homeless guy--who actually isn't all that creepy. Kind of has a Kris Kristofferson vibe. Then, our lead--Joey Summers (Terry Farrell)--a reporter stuck with a hospital with nothing happening. Boring night, cameraman Doc (Ken Carpenter) leaves to cover a better story and then the Hellraiser bit arriv...

Paula Ashe at Ginger Nuts of Horror takes it a little far in saying that, in Hellbound: Hellraiser II , Julia "is no longer working on anyone's behalf but her own, bringing souls back to Leviathan, a god that she has decided to serve." While Julia seems quite willing in all she does here, the murders, pushing Channard into that... thing that transforms him. But, she was willing in the first film as well, even as she operated quite explicitly within the confines of patriarchal society. Paula continues: Julia's purpose is not just concrete, it is now given a spiritual dimension as well, a philosophical motivation that transgresses the basic moral and ethical codes of not just patriarchal society, but civilization itself. This is inference on Paula's part, not any implication that comes from the film itself. Consider: why does Julia emerge from the mattress in the first place? Why did Frank emerge from the floor? Does the blood pull them out unwillingly, or is...

Generally speaking, there are two kinds of nightmares: the kind that you actually have, and the kind they make into movies. - Roger Ebert Great line. Of course, he also claims that Hellbound: Hellraiser II "has no plot in a conventional sense." I'm not so sure about that, but, to be fair, it has been a while since I've watched this movie. We'll see soon enough. Opening with pre-Pinhead solving the box works well. He seems to be opening it more out of boredom than some obsessive desire like Frank. And, the quick montage of the creation of Pinhead sets up the end of this film--Dr. Channard (Kenneth Cranham) becoming a Cenobite. But, the closeups on the head wounds-- --invoke some of the imagery of the labyrinth we will see later in the film, as well. On the... agreeing-with-Roger front, Annie Billson wrote in Sky Magazine , February 1989, "This is the kind of film which abandons logic for a non-stop barrage of weird goings-on and ultra-gory special eff...