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.
While I have only ever seen two films directed by macabre horror writer Clive Barker, he is actually one of my favorite filmmakers. Hellraiser was the first reason, but this film, Lord of Illusions, is the biggest reason. Released in 1995 in the midst of a bad stretch of time for the horror genre, Clive Barker was ambitious in telling a film noir detective horror story. Theatrically, the film was not well represented with a lot of pertinent, quality scenes cutout for a tighter runtime, and box office was not very lucrative. I cannot find a record for the film’s budget, but I’m sure it exceeded the box office gross of $13 million. Thankfully, the home video market allowed Barker the opportunity to release his definitive director’s cut of this excellent film, and I can’t imagine anyone watching this film in any other way.
New York private detective Harry D’Amour (Scott Bakula) finds himself repeatedly drawn into disturbing supernatural events, much to his strong reluctance. He takes an insurance fraud case in Los Angeles as a change of pace, but soon, he finds himself in the world between illusion and true magic. The world’s greatest illusionist Philip Swann (Kevin J. O’Connor) is killed in a graphic on-stage accident, and Harry is driven to discover the truth behind it. Hired by Swann’s gorgeous wife Dorothea (Famke Janssen), Harry delves deep into the secretive world of magic, and encounters dangerous foes including the peculiar, yet lethal Butterfield (Barry Del Sherman). What Harry uncovers is that a cult leader named Nix (Daniel von Bargen), who could perform real magic and taught Swann to do so as well, is feared to be able to defy the grave that Swann and Dorothea put him in, and will return to exact horrific revenge upon the world. What Harry D’Amour may come to realize is that death is the ultimate illusion.
The film sets a very dangerous, foreboding tone right from the outset. A series of grim images of a decrepit, desolate wasteland open the picture telling you that dark, evil forces await us. This opening sequence shows Swann and his friends confronting Nix and his followers in the Mojave Desert thirteen years prior, and sets the stage for where Harry D’Amour will enter their unsettling lives in the present day. It clues you in on exactly what horrors Nix was capable of, and why Swann and his estranged friends now fear his return so gravely. The production design of Nix’s stronghold is perfectly macabre and disturbing. It has that dead-on Clive Barker dark, gritty style with a sort of grotesque beauty. It is photographed with a generous amount of shadow using the light to accentuate only certain sections of the environment. This style carries over into all the visually darker scenes creating a gorgeous film noir style. This is just a beautifully shot movie in any condition of light or shadow. While cinematographer Ronn Schmidt doesn’t have much in the way of high profile films to his résumé, I can surely tell he had a major wealth of artistic potential when coupled with the right director.
Clive Barker magnificently proves his talent and worth as a filmmaker here. I think Lord of Illusions really is a masterpiece of supernatural noir horror. It’s a greatly intelligent film that blends two very comparable genres together in a beautiful way. The film sets up the horror elements first with that amazingly chilling opening sequence, but doesn’t really explain anything to the audience. So, as Harry D’Amour is pulled into this plot, we still have questions that need answering, and it is a dangerous path for Harry to walk to reach those answers. There are plenty of secrets that many would kill to have or to keep hidden, but Harry is an intelligent enough hero to see through the spook tactics and walls of deception to get to that truth. The moments of horror are powerful such as the flashes Harry has of the exorcism he was involved in. The sight of the stark white demon is nightmarishly striking. Dorothea also has visions of blood and death which tell her that Nix’s return is soon to come. Butterfield’s strange lackey Miller also provides much in the way of savage gore and violence. How he survives a third story fall to the pavement enhances the bizarre nature of the film’s foes. Clive Barker knew how to use film as a canvas for brilliant brush strokes. Melding so many different complex aspects of this story would not be easy to do, but he had a clear and vibrant vision which he was able to realize. Not to mention, he brought us one of his absolute best creations ever.
I really love the Harry D’Amour character as portrayed by Scott Bakula. He is endlessly fascinating to me. A hardened private investigator who gets caught up in all manner of supernatural danger is so ripe with potential. The fact that he is reluctant to be wrapped up in this world, but is inevitably drawn to it makes for a great character dynamic. He’s a man that has subscribed to many faiths in his day, possibly to attempt to find answers or solace for the evil he has faced. It shows he’s a man of a wide open mind, but not without his skepticism. True to being a detective, he accepts nothing purely on face value alone. He has a probing mind with a keen intellect that makes him an interesting hero to follow. He’s intent on unraveling a mystery in a world built upon secrets. Scott Bakula gives a warm, soulful quality to D’Amour that comes to life opposite Dorothea. He also shows Harry to be a capable and confident man of action making him a very well-rounded character. He’s smart and perceptive as well as having a good heart that contrasts the darkness he’s engulfed in. Bakula did research the role, and helped add in more traits of what Barker had previously written for the character. The tattoo on Harry’s back resulted from that research and collaboration. Scott Bakula does an excellent job with this role that I wish fortunes could’ve allowed us to be exposed to beyond this film, but nothing is ever truly impossible. One can still hope for another prime opportunity to arise for Bakula and Barker to reunite.
When Clive Barker saw the headshot of Famke Janssen during casting, he knew he had found Dorothea. Her air of class and elegance truly shines through in this role. When Harry first sees her its in the golden late afternoon sunlight, and she couldn’t be more captivatingly beautiful. She easily captures Harry’s heart, and that leads the two down a very passionate path. Bakula and Janssen have a seductive chemistry that is captured magnificently by the camera. Their love scene is gorgeous. I like the fact that Lord of Illusions came just before Famke became a villainous Bond girl in GoldenEye. Thus, it gives Barker some special credit for recognizing her talent and beauty before her breakout role. As Dorothea, she is both vulnerable and strong creating a fine mix to make her a damsel in distress, but not one that’s afraid to fight for herself when the opportunity arises.
I have to admit that I love the character of Butterfield. He’s perfectly androgynous with a slinking quality that makes him very serpent like. Barry Del Sherman uses his body language fluidly as he slipped into the skin of this peculiar villain. It’s wonderfully written as a dangerous, off-beat character that one might not take seriously at first glance. However, Butterfield quickly demonstrates a lethal, sadistic quality that he uses in calculated fashion. He truly takes deep pleasure in the torturous methods he uses, and Del Sherman absorbs himself fully into that mindset. He portrays a wonderfully charismatic and juicy villain. It’s also an interesting dynamic that Butterfield aspires to be Nix’s one and only apprentice, but even Nix acknowledges that there is no one else worthy but Swann. While Swann gets to bask in the limelight of fame, Butterfield slinks his way through the dark underbelly of the world to prepare for Nix’s return, and he gets no respect for his loyalty or hard work from Nix.
Daniel von Bargen is a hell of a diverse actor that I have gained immense respect for over the years. He can do drop down hilarious comedy, but also, put in a frighteningly charismatic performance as Nix. What he does in the first few minutes of the film resonate throughout the rest of the picture. His horrific power haunts Swann, and that fear translates over to the audience very sharply. He is an awesome villain full of commanding presence and intense malevolence. The power von Bargen throws into this role is masterful creating something that could truly haunt your nightmares in terrifying fashion. He clearly had a fun time portraying this intense, chilling character.
Another amazingly diverse actor is Kevin J. O’Connor. You may know him from his turn as the cowardly Beni from Stephen Sommers’ The Mummy, or from the Patrick Swayze television drama The Beast. As Philip Swann, he gives us a very unique performance. I like how the film opens without presenting a clear hero to you. Swann is not a confident or particularly stable person, and not the type to gravitate to as a protagonist. He is very shaken by fear, and later on in life, he’s not a content man. He has fame, wealth, and a beautiful woman at his side. However, it’s the creeping knowledge of what Nix vowed he would do, defy death, that endlessly troubles him. If he can do that, Swann cannot imagine what greater terrors he could unleash. Even with all the power Swann possesses, he knows that Nix is more powerful, but most importantly, he has the will to do things Swann never would. Nix messed with his mind once, and he’s never been able to shake that. O’Connor passionately displays the depth of those turbulent emotional and psychological elements so well. He makes Philip Swann a greatly fascinating and fractured character that maintains the foreboding tone of the film.
The supporting cast really put their all into their roles. They add to the eclectic flavor of these textured and distinct characters. Joel Swetow makes Valentin a very sophisticated but shady character. He furthers adds to the mysterious and treacherous aspects of the plot. All of the characters appearing in the Magic Castle sequence, portraying illusionists of all sorts, also really boost those spooky and colorful qualities of the film. It’s just a damn solid cast that Barker put together. There’s not a single weak link anywhere at all.
Clive Barker turned to the absolute masters of special make-up effects in KNB EFX Group for this film. Their work has been unparalleled. Whatever they do, big or small, severe or subtle, it always hold weight on film. What they did here is bring the gory and challenging imagination of Clive Barker to perfect life. The make-up on the resurrected Nix is purely, excellently disgusting, as it should be. The protrusion in his forehead is something I still cannot stomach to look at. Conversely, the digital visual effects are damn well up to standards. The early scene of Nix juggling fire is seamless and convincing, and the effect of Swann levitating a car over Harry’s head is quite well handled. Of course, I’m sure many would contend with the later scene of the apparition that attacks Harry and Dorothea late in the film, but Barker wanted it to look as it did. He did not want those effects to be dead-on realistic. He wanted a dream-like, unreal quality to them, and to a point I believe it worked. I’m sure something a little more refined could’ve benefitted the sequence better, but I generally have no criticism about it.
The film has a very strong, haunting score by Simon Boswell. It’s an excellent piece of work that regularly keeps the tension and ominous qualities present, but it also has its moments of beauty as with the Harry and Dorothea love scene. A sensual saxophone chimes in to delve into that seductive passion. The music during Swann’s stage show is marvelously theatrical. In its most climactic moments, the score is powerful and darkly operatic. Overall, it’s an immensely effective composition for a film with such diverse qualities.
Lord of Illusions has its generous share of heightened tension and frightening danger. The opening and ending sequences with Nix bring the full boar horror in all its macabre glory. In the bulk of the film, though, we have action based excitement with D’Amour, and some gory visuals that re-instill the haunting, chilling aspects of the story. This is not a splatter film with some brutal threat stalking the characters. It’s very supernatural with a more ominous threat stirring up their deepest fears. The atmosphere is very strong regularly keeping an audience on edge, and keeping them enthralled as each new layer of the mystery is pulled back. With lives being lost as he gets deeper into this and becomes more invested in Dorothea, Harry can’t just walk away. It’s a great way to wrap the hero up in the story, and drive him forward in the face of ungodly horror. Harry never gives into fear, and remains determined in even the darkest moments of the film.
The final act is powerful and amazing. It serves as the proper climax to this story which pits apprentice against master in a chilling and grotesque confrontation that still manages to keep D’Amour relevant to the outcome. It bookends the film smartly bringing Nix back in a far more chilling state than before. The disturbing cultist aspects of the movie really are driven home by this point, and have an ironic, vile pay-off here. It further sells the grave lethality and power of Nix. This entire prolonged sequence is like a slow decent into the horrific depths of hell, and there is no one better suited for the task of realizing that than Clive Barker. This ending will leave you still unsettled as the end credits roll.
If there’s one horror film that has inspired me as a screenwriter more than any other, it would be Lord of Illusions. This would be the genre I would want to play around in because Clive Barker realized it so well here. There’s a vast untapped potential for this supernatural noir genre, and this film is a prime example of that potential. Barker wrote a brilliant screenplay based on his short story The Last Illusion, and turned it into one of the best, most original and intelligent horror films I have ever seen. Thus, it is one of my favorite films of all time. This film far exceeds expectations realizing every element and aspect with amazing, top notch quality. It is only a shame that the studio difficulties Barker faced with this film caused him to turn away from ever directing another film again. Fortunately, it has not ceased him being a producer on a number of film adaptations of his written work. I think Clive Barker is one of the best masters of horror because has never let me down. If this turns out to be the final film he ever directs, no one could ask for a better final bow than Lord of Illusions.