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Hellraiser III: Hell On Earth (1992)

Something went wrong with Hellraiser III.  Clive Barker might be credited as an executive producer, but it essentially means nothing.  He proposed a storyline, but then, was relegated to a back seat executive producer’s credit.  I can’t perceive any of his influence here, but that’s not what’s really wrong with this sequel.  This sequel had workable elements for a thoroughly fascinating story, but what might seem to have some potential eventually degrades into sub-standard horror movie cheesiness.  The execution of Hell on Earth diverges far away from the style of the previous two films.  Part of the problem is that the franchise was now in the hands of a Hollywood studio who wanted to push a far more commercial appeal.  The script needed an overhaul, and the quality of acting is akin to a jokey slasher flick, which is exactly what this film descends into.

Joey Summerskill (Terry Farrell) is a failing television news reporter in search of that story that will break her out of obscurity.  While finishing a report on some go-nowhere story at the hospital one night, a young man is carted into the emergency room with chains ripped into his flesh and dangling from his body.  Then, before the eyes of many in the emergency operating room, the man’s body is torn apart, and of course, Joey believes this is the caliber of story she’s been seeking.  She tracks the young woman, Terri (Paula Marshall), that accompanied the man to the hospital and finds that her boyfriend is night club owner J.P. Munroe (Kevin Bernhardt), who owns a familiar pillar – the pillar of souls which now contains an imprisoned Pinhead who became trapped there after the confrontation with the Channard Cenobite in the previous film.  After the spilling of blood on the pillar, Pinhead begins to reawaken, and with more blood, he can be fully regenerated.  Meanwhile, Joey comes into possession of the Lament Configuration through Terri., and details of Pinhead’s mortal, human life as British Captain Elliott Spenser are soon revealed.  Elliott exists apart from Pinhead now who is a free being, separated from Leviathan and Spenser, and thus, has become a far more lively and sadistic being. There is no more reasoning, no more hesitation, and no more bargains.  Elliott believes he can defeat Pinhead, but Joey must bring the two together within Elliott’s realm to do so.  Therefore, Joey is sent out on her mission to lure Pinhead into a trap, but Pinhead proves to be a more cunning adversary than she anticipates.

There was a very good Pinhead origin story buried underneath the second rate qualities of this sequel.  It follows a logical story progression from the first two films, but the script they put together and the execution thereof just crashed and burned so hard.  At the start, it doesn’t seem like a bad movie, but the garbage just continues to accumulate to turn it into a bad, cringable entry in the Hellraiser franchise.  Instead of carrying on an ambitious, intelligent, and bold storytelling mentality, the film constantly takes the soft, cheap, or thinly developed route.  Worse yet is that so much of the Hellraiser mythology and atmosphere is abandoned here that measuring up to the first two films becomes hopeless.  For one, aside from Pinhead, all of the other Cenobites we’ve seen are gone, and new ones are created by Pinhead for his own convenience.  That alone contradicts the mythology.  Leviathan creates Cenobites, and only those that solve the Lament Configuration have the potential to become one.  Pinhead and other Cenobites do not have the power to create other Cenobites at will.  Where this new power comes from for Pinhead is a complete mystery, and it only gets worse in the following film.  Granted, Pinhead does say that these new minions are a mere shadow of his former troops, but that’s a thin consolation for giving us such jokey trash.  Hellraiser III simply bestows a wealth of powers upon Pinhead including gaining psychic abilities as well as creating illusions and dream-like realities without ever explaining how he or even Elliott Spenser obtained such powers.  Captain Spenser says he and Pinhead have been unbound from Hell, but since all the power they had was derived from Leviathan, shouldn’t that mean being cutoff from Hell would leave them powerless?  That would seem logical.

The characters and acting are a mixed bag.  Being a Star Trek: Deep Space Nine fan, I know Terry Farrell is quite a good and capable actress, but her performance as Joey Summerskill is very unimpressive.  She’s supposed to be this driven journalist frustrated at her obscure status trying to crack open this riveting case, but what’s on the page doesn’t come out on screen.  There’s no intensity or hard hitting motivation in Farrell’s performance.  It’s almost all very soft and bland.  I was continually struck by how flat her performance was throughout this movie.  She makes what was an underdeveloped character on the page, and made it terribly yawn inducing.  One would expect something along the lines of a Margot Kidder Lois Lane who is assertive, aggressive, and driven to prove herself.  Instead, Farrell seems to put the minimum amount of effort into this role.  The dream sequences about Joey’s father are meant to make her a sympathetic character, but they just came off as cheap, forced, and uninspired.  They have almost nothing at all to do with the plot except for a very thinly veiled deception near the end.  Between the lazy screenwriting and the lackluster acting, this is not a character or performance that could carry this film at all.  Ashley Laurence has more depth, life, and emotion in her momentary cameo on a videotape than Terry Farrell shows in the entire movie.

Thankfully, Paula Marshall puts in a much better performance as Terri.  Although, some of the stuff they write in to give the character depth is rather ridiculous.  It would be one thing if Terri had nothing to aspire to, no ambition or direction in life, but to not have actual dreams when she sleeps would actually result in severe health problems.  Maybe I’m taking things a little too seriously here, but it’s clearly something would’ve worked better as a metaphor instead of a literal statement.  Regardless of this off-the-mark idea, Marshall really brings some viable depth and vulnerability to the role.  She comes off as vastly more dimensional than Joey by way of a more grounded and relatable emotional portrayal.  I would’ve preferred her being the central protagonist in the film picking up the reins from Kirsty Cotton.  She seems to have more fertile emotional ground to explore than the uneven and uninteresting character of Joey.  Being a drifter with no home or family, Terri automatically has a wealth of potential for a screenwriter to delve into, and Paula Marshall clearly had the talent to handle such material.  It’s sad that this movie was constantly ignorant towards the potential it had on-hand, and made no effort to utilize that potential to its fullest effect.

Kevin Bernhardt’s J.P. Munroe is the most one dimensional, cheap sleaze as it gets.  He’s just a cog in the story, and the script doesn’t do anything with the character.  Likewise, Bernhardt doesn’t do anything worth noting with the role.  He has no more to him than any low grade slasher flick, and that’s what this seems to span out to in the third act.  Bloodbaths, senseless killings, and a high body count – none of which are in the Hellraiser style.  The studio took Hellraiser, and turned it into a cheesy slasher franchise, eliminating anything innovative, thematic, or chilling about the mythos.  The filmmakers turn Pinhead into the new Freddy Krueger with one-liners, over the top moments, and a group of seriously lame Cenobites.  Pinhead loses his coldness and his seemingly heartless passion for hell.  Some fans say that the appeal of this film is seeing Pinhead unleashed, but for me, that becomes its least intriguing quality.  The character was far more fascinating when there was still a chilling air of mystique to his personality.  On the whole here, he has been written as a completely different character that is bad enough on its own, but in the guise of Pinhead, it becomes excessively ridiculous and continually cringable.  Pinhead becomes a deceiver, manipulator, and tempter of desires.  He comes off more like a standard, melodramatic portrayal of the Devil than a logical progression of Pinhead.  You’ve got Doug Bradley just going for broke like it doesn’t matter.  He does a good job early on, but once the film does begin to “unleash” the character, his performance just becomes terribly uninteresting.  Pinhead becomes another schlocky, cackling, dumb villain who’s there just to chew up scenery.  Conversely, Bradley does a fine job as Elliott Spenser giving him both a strong sense of will and determination with a subtle humanity.  It’s a decent performance, but it’s only too bad that it wasn’t in a better quality film to allow the Spenser character to be more fleshed out with a stronger dynamic with Pinhead.

Further contradictions to the established Hellraiser universe come with all the religious references and quips.  Beyond just the betrayal of tone, one would swear that screenwriter Peter Atkins didn’t understand the franchise he was writing for, but he also co-wrote the incredible Hellbound: Hellraiser II.  So, it entirely baffles me how he wrote this weak, uninspired script.  What Hell really is in this fictional universe has no connection to religious interpretations or beliefs.  It’s not a place for sinners or where your soul goes after death.  It’s another dimension accessed by the solving of the Lament Configuration in conjunction with one’s desires to be subjected to the indivisible experiences of pain and pleasure that Leviathan offers.  Atkins shows no respect to the established mythology or tone of these films.  The scene of Pinhead in the church is one of the absolute worst scenes of the entire franchise because it exemplifies every downright horrible aspect of this movie.  It is gratuitous in the extreme, and puts Pinhead in a setting he has no necessity to ever be in.  The film is simply going as over-the-top at this point as possible not caring about story or character relevance, and just indulging in whatever the filmmakers want to do on a whim.

Thematically or visually, Hellraiser III isn’t really dark at all, let alone macabre, and repeatedly delves into a completely out-of-place self-parodying style.  It conforms to the trends of the time, and thus, loses a lot of credibility for the future of the franchise.  The cinematography is generally gimmicky and frenetic at times relying on a cheap early 90s MTV style.  It’s definitely something that would be more enjoyable in a B-grade action movie than a horror film.  Lighting schemes that might have potential just come off as ineffective due to a lack of vision and talent to create proper atmosphere.  Unlike the previous two Hellraiser movies, there is no thematic material here, and instead, the movie simply gratifies itself with cheap gore and sexual content with no substance to justify any of it.  An unrated cut was released on VHS and Laserdisc including extra gore and some other minor additions, but apparently, this version has not been released on DVD in North America.  The film, as it is, is obviously cut down for gore as there are numerous quick, bad cutaways from the bloodier moments creating a quite tame and unsatisfying experience.  However, an unrated cut is nothing that could salvage this film as a whole.  A lack of substantive gore is the very least of this film’s problems.

Director Anthony Hickox demonstrates no better handle on horror than he ever has before.  It’s a cheesy, jokey film with a light, commercial tone that is more interested in silly, cheap entertainment than offering up a chilling, intelligent vision of horror.  The entire third act of the movie is just wretched for a Hellraiser movie.  It couldn’t be any more of a betrayal and insult to what the series had stood for up to this point.  It’s horrendously schlocky, terribly cheap, and stupidly over-the-top.  It demonstrates no respect for the franchise by having Pinhead cackling like a brainless third rate villain, and throwing loads of gratuitous violence and action set pieces which have no relevance to horror.  This is where those aforementioned poor excuses for Cenobites are revealed, and they are even given bad dialogue with cringable one-liners.  This is not a Hellraiser movie, but it is quite expected for an Anthony Hickox movie.  Warlock: The Armageddon had many of these cheesy qualities which indulged in underwhelming characters, some bad acting, and a severe lack of horror related content.  Where that film is essentially disposable and dismissible, Hellraiser III ultimately develops into a giant slap in the face of the franchise.  It’s hard to believe that Clive Barker would still want his name associated with this movie because he surely didn’t want it with Hellraiser: Bloodline.  This is a mid-to-late 80s slasher film made in the early 90s when horror was on a very steep decline in quality and popularity.  Between terrible handling by Dimension Films, and helmed by a cheap director, Hellraiser III easily falls short of all its potential.

The vast majority of these passionate gripes are focused on the final half hour of the movie.  This is when Pinhead is released from the pillar of souls, and becomes this over-the-top, uninteresting villain.  Before that, there are some good qualities in the film such as Paula Marshall’s performance, and the more subtle moments with Doug Bradley as Captain Spenser and Pinhead.  Despite having a new composer, it retains Christopher Young’s iconic themes, and they are used throughout the film.  However, Hellraiser III: Hell on Earth is barely passable as a horror film.  Atmosphere, suspense, or proper tone have nothing to do with this film, and the majority of the acting is simply devoid of passion or is embarrassingly over-the-top.  There are a lot of duds in this franchise, and it’s hard to say exactly which is the worst.  This is more like another bad, cheesy A Nightmare On Elm Street sequel instead of a chilling and intelligent Hellraiser sequel.  Barker’s involvement seems non-existent here as Pinhead is forced into too much of a foreground, dominant character instead of the ominous, looming figure in the background where he seems to work best.  His limited screen time in the first two movies made his presence and character seem more powerful.  He does tend to do more in a limited time capacity than he achieves in a lengthy role here.  Basically, this is sad excuse for a sequel to the brilliant and macabre masterpieces of Hellraiser and Hellbound: Hellraiser II.  Maybe if this was not a Hellraiser movie, something entirely separate and unrelated, one might be able to view it in a better light and actually gain some cheesy entertainment value out of it.  However, as a part of this franchise, it’s just downright embarrassing  The only consolation you have at the end of this movie is that the excellent track “Hellraiser” by Motörhead from their March Or Die album blares over the end credits.  The music video, directed by Clive Barker, actually features Lemmy Kilmister squaring off with Pinhead in a game of cards.  The song, lyrically, has nothing to do with the Hellraiser films, but this film at least gave us something worthwhile in that very cool music video.  It’s just about the only worthwhile thing it produced.


Warlock: The Armageddon (1993)

I truly like and enjoy the original Warlock from director Steve Miner.  While the low budget restricted its overall production quality, the good script and high caliber acting talents of Julian Sands and Richard E. Grant really made it something worthwhile.  It’s one of those films which showed a lot of potential, and that with a larger budget and stronger production values, it really could’ve been amazing.  The rights for the film eventually ended up at Trimark Pictures which came to specialize in some decent genre and B-movie successes, mostly direct-to-video releases, but were ultimately absorbed by Artisan Entertainment and subsequently Lionsgate Films.  With the rights to the first film, Trimark decided to make a sequel with those better production values.  Warlock: The Armageddon brings the Warlock back from oblivion, but this sequel would’ve been better off staying in oblivion.  The golden-maned Julian Sands portrays the Warlock far more devilishly in this one with a darker charm, but has no worthy or even respectable adversary this time around.  Sands essentially carries the entire movie, and any scene without him is rather uninteresting.  His charisma and charm on screen is so electric that you simply crave more of it when he leaves the screen.  The plot doesn’t offer anything all that engaging or particularly special.

The Warlock is brought back to recover a collection of gems that, together, can destroy all of creation (yes, again) by bringing his father, Satan, into our world.  Meanwhile, in some rural town two teenagers are chosen by some most unimpressive Druids to be trained and fight the Warlock.  Chris Young and Paula Marshall, respectively, portray these two youths, Kenny and Samantha, who aren’t too fond of their parents having to kill them first before being imbued with these new special powers.  As the Warlock dispatches of several non-formidable obstacles to obtain these gems, these two teenagers in love try to come to grips with what they have been tasked with, and fear for the evil that is coming for them.

I can’t wrap my head around how we go from the amazing character of Redferne, portrayed by the exceptional Richard E. Grant, to a couple of teenagers who frankly care more about what they’re gonna do on Saturday night than being the saviors of all creation.  These two amateurs are expected to go up against the unholy spawn of Satan and prevail?  I can only suspend my disbelief so much before a premise becomes laughable.  Truly, I was more involved in the Warlock and his quest to destroy humanity than caring about this rural pair of teens in love being forced into a situation they want nothing to do with.  There is hardly anything endearing or engaging about their half of the movie.  Honestly, I wanted this film to have nothing to do with them.  It’s rather sad when you come to actually wanting the villain to destroy all of existence.  At least we would have been spared more sequels.  Of course, Sands was not brought back for Warlock III: The End of Innocence, which was a non-sequel casting Bruce Payne in the title role.

This sequel is much gorier than the original, but the story and characters are far weaker.  It’s not a question of bad acting, it’s a question of a bad script.  Whereas the original film was written by the exceptionally talented David Twohy, the screenwriters of this sequel, Kevin Rock & Sam Bernard, have nothing of special note in either of their filmographies, and nothing at all written since the late 1990s.  Director Anthony Hickox had just finished Hellraiser III: Hell on Earth, and I feel this film is worse than that uneven sequel.  Hickox directed some decent horror films like Waxwork & Waxwork II, but after Warlock: The Armageddon, he never directed, wrote, acted in, or produced another recognizable film.  At best, he’s proven to be a B-grade director not capable of producing anything without a hefty helping of cheese and over the top sensibilities.  Ultimately, looking over the credits of this film, the only notable talent involved is Julian Sands.  From the screenwriters to the director of photography to the music composer, there’s nobody of note here.  Charles Hallahan (The Thing) and Zach Galligan (Gremlins, Waxwork) do have roles here, but they’re essentially nothing more than inconsequential supporting roles.

On a technical level, the movie is well made with competent cinematography giving everything a fine polish and sheen.  It looks a little more cinematic than the first movie, but it certainly has its limitations.  Some sets are clearly more restrictive in size and style than what their real world counterparts would be such as the fashion show venue.  Also, one action scene takes place in a small American southwest town which looks like the back lot for some low budget western, aside from the parking meters.  The Warlock literally has a showdown with a couple of guys with shotguns dressed in bad western attire.  It’s another unsatisfying thing attributed to both the screenplay and the low budget.  They can’t afford to place the climax of the film in an interesting setting, so, it all happens in a forest-like environment where there are no production values to show off.  While earlier sequences were mainly on sets that did the best with the budget they had, the climax just makes it look cheaper with uninventive ideas of setting or action.  Of course, Anthony Hickox had the climax of Hellraiser III take place on the late night streets of Los Angeles, and showed a lot of explosions and action, but it ultimately amounted to pointless drivel that dumbed down that franchise to an achingly low level, despite the production values.  I can’t say that more money would’ve fixed the creative or artistic problems with the film.  It was a rather bland story to begin with, and the climax gets to the point where I’d rather prefer seeing the Warlock triumph.

I can say that the visual and makeup effects are entirely superior to the previous film, and that’s bizarre since this film’s budget was $4 million less than the first film.  Perhaps, it’s simply a benefit of the evolution of digital effects replacing optical composites in the four year gap between films that gives this sequel a higher quality in that area.  The powers of the Warlock are exponentially more extensive and destructive here than in the first movie, but it doesn’t matter much when the story loses the heart and the charm that the first had with Redferne.  You can read my earlier review of that film for a more in-depth insight into what really gave Steve Miner’s film so much promise.

Again, Warlock: The Armageddon is really cheesy and pathetically weak in nearly every facet with Sands being the only exception.  This sequel is okay if you want to see more of Julian Sands’ purely evil, sadistic, and wonderfully devilish performance, but that is all that is worth seeing in this film.  The original Warlock wasn’t any major blockbuster success, and so, Trimark probably didn’t feel as if all that much effort needed to be put forth for a sequel.  Again, Trimark was never known for very high quality films, but there are a few that I still heavily enjoy.  However, this is not one of them.  If the first movie was filmed as well as this one, and had this much gore – it would’ve kicked some real ass.  Unfortunately, what really is the most important aspect with both is good story and character.  This film lacks both whereas the original Warlock really had it in good amounts.  It was well written with some character depth and a consistently enjoyable premise.  This sequel was dumb on arrival with only Julian Sands bringing anything truly entertaining to the project. See it if you want, but you’re not missing much otherwise.  At best, it’s cheesy early 90s horror schlock.  I would better recommend watching the original Warlock, or if you really want some bad ass demonic vanquishing, try Constantine.  This was a franchise that hardly ever got going anywhere, and with this sequel, it’s easy to see why it was not a success.