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*** This review may contain spoilers ***
i hate this film with a passion, it's easily the worst theatrical
hellraiser film. i love first two films and even the fourth film
"Bloodline", hoping the third film will be at least entertaining but
nope, it was dreadful to watch after the first watch. i don't really
think clive barker or the screenwriter peter atkins really care at this
point, since around that time they lost creative control over the
production and the franchise. it's americanized, changed in tone and
direction (directed by the b-movie stinker anthony hickox) turned into
something hellraiser should have never been a really pointless slasher
first let's start with the positives: j.p. monroe (kevin brendardt) is a likable love-to-hate villain, the barb wired cenobite design is pretty cool, Pinhead (doug bradly) is great as usual and he's the highlight of the film with his awesome lines of dialogue. also pinhead's back story is the only decent part of the whole film. the film has pretty good production values but not as impressive as "Hellbound". it has it's moments but it can't save the film from his really bad points.
the negatives: the main plot sucks, gives very little to the series, ignoring it's own rules with the puzzle box and it's mythology, joey (terry farrel) is a terrible replacement for kirsty cotton, she's your'e typical boring horror chick with more looks then personality, and not to mention her acting is awful. the direction by anthony hickox also hurts the film aiming more towards a Freddy Kruger film with pinhead, with less suspense, too much horror cliché's, very cheesy and sometimes very stupid dialogue. i can't take anything in this film seriously, the cenobites are badly designed and laughable (with the exception of the barb wired cenobite), then there was the "boiler room" nightclub, this ruined the film for me. why half of the plot takes place in a night club with horrible rock music and extras that are clearly gonna die!!!, why not take place in a museum or ancient temple where the main plot makes more sense!. just go see "Hellraiser: Bloodline" instead it's returns to it's roots, more satisfying and closer to the original two then this piece of crap.
*** This review may contain spoilers ***
Joey Summerskill is an ambitious TV reporter whose life is changed
forever when she witnesses the horrific death of a tormented teenage
boy, torn apart by chains. Determined to find the truth behind this
gruesome event, she discovers the lament Configuration Box which opens
the door to the Cenobites' demonic world of pleasure and pain. Once
again Pinhead walks the earth, creating a new army of Cenobites from
the transmuted flesh of his victims and his one desire is to reclaim
the box and free himself from the powers of hell.
This film starred: Terry Farrell, Doug Bradley & Kevin Bernhardt.
Hellraiser 3 is not the worst from the first 5 Hellraiser films I have seen, because number 4 is. However this one isn't great. The plot was good and if executed well I think this could have been a good movie, however some of the scenes in this movie were sloppy and wrong. I liked the idea of the soldier who became Pinhead finding Joey and telling him to lead Pinhead to him were he has power, but again this was a scene that I found kind of messed up and not living up to it's potential. Not really recommended but watch if you want to complete the trilogy because the sequels that follow this one are a waste of time and cheap sin offs.
*/***** Very poor.
Clive Barker's Hellraiser (1987) is considered by many to be one of the
most unique horror films of the late 80's. What emphasized those
opinions were gruesome images along with its Gothic tone. A year later,
New World Pictures released Hellraiser II: Hellbound (1988) and
although it wasn't as critically praised, it still resonated with many
fans. I found it enjoyable but the writing was much weaker than I had
expected it to be. Then, jump four years later and we get Hellraiser
III: Hell on Earth (1992), which to many just didn't satisfy and
bordered on the edge of really bad. The sad thing is that, it is bad,
even with the few good things it has going for it.
The plot is about a "down on their luck" news reporter, Joey (Terry Farrell), who can't find a decent story to save her career. That is, until she comes into contact with the lament configuration after watching a hospital patient's head explode. Amazingly after being okay with such a traumatizing experience, this intrigues her more to find out what this tiny puzzle box is all about. To do this, she digs into the past using archives from Dr. Channard's mental asylum and interview footage of Kirsty Cotton. It is also explained to why Pinhead is back in this movie because in the movie before, he was killed off. This is one of the better parts, at least when it comes to the back-story and continuity. Peter Atkins, the same writer of Hellraiser II: Hellbound (1988), wrote the screenplay.
I'll admit, it's very much appreciated that Atkins' is keeping the continuity straight. If that wasn't at least on track, my rating would probably be lower. But even so, Atkins' ability to give explanations to why this mystical puzzle box decides to make various humans cenobites, and others not, makes no sense. Is it just by random chance? The cast on the other hand is another bowl of mixed nuts. It's great to see that the casting department had Ashley Laurence come back for a small cameo in the asylum footage and of course Doug Bradley as Pinhead himself. That was great, but the main lead, Terry Farrell wasn't. Farrell just didn't make her character come off as a strong female lead, no matter how many times one says "Go to hell!".
Unfortunately, dialog is another problem. I don't know what Atkins was thinking when it came to dialog, but almost every character here (and maybe even a little bit of Doug Bradley's lines) all have this sarcastic if not watered down dialog that makes them sound like these lines were written for a bad comedy. The Hellraiser franchise is not a comedy, not even a dark comedy, so why are characters making bad puns or being overly sarcastic? Even some of the new cenobites have corny dialog. For example, any female besides Joey (Farrell) wasn't that smart in speech or actions. What's up with that? It wasn't necessary then and it isn't now.
Let's not forget though, this is a horror franchise so there will be plenty of death, blood and ugly images. And for those who wish to see that, yes, you will get your eye full worth without a doubt. But, if you're the viewer looking for the same kind of tone and chills you felt from Hellraiser (1987), it won't be found here. Even more surprising is how absent Randy Miller's score to the film was. I was actually impressed with his work from both Darkman II: The Return of Durant (1995) and Darkman III: Die Darkman Die (1996) because he not only made sure he stuck to the original theme, but added some unique tracks to them as well.
Here however, right from the intro credits is Christopher Young's music! It's not to say Miller didn't provide anything, because I know there were tunes in there I never heard before but it seemed like most of the music was just recycled and edited. It's sad when a composer comes off as sounding lazy especially if they aren't that bad to begin with. It's not to say this movie doesn't pull through, but its original tone and atmosphere of the picture no longer exists which makes it depressing that a franchise so likable is beginning to lose its charm. It's beginning to get to a point where the only reason why someone would want to watch this is for Pinhead alone. But Doug Bradley can't carry this picture by himself. Otherwise it would've worked from the first installment.
The third entry is much lighter in atmosphere and doesn't carry itself the way the first two did. The continuity is thankfully kept in order but the dialog isn't too clever and the only real character that's worth a watch is Pinhead himself.
seen once before, one scene as always stood out to in this movie, scene
when girl skin torn of her body in the movie. (I enjoyed that scene)
The plot was little confusing at first with a the whole dream angle of the movie, (It makes sense at the end of the movie) , some parts of the movie, I felt like i missed something long the away,
This is a lot gory then second movie, which I did enjoyed nasty gory bloody scenes,
What bring this movie down is really horrendous acting from the whole cast and half the things they say don''t fit in with scene that just happens, scripts was really bad.
One scenes that really cracked me was . The Priest. Demons aren't real. They're parables, metaphors. Joey, as the doors open and Pinhead enters] Then what the BEEP is that?
I have no idea, what meaning of the last scene meant.
5 out of 10
The third installment of the Hellraiser series deviates from the first two
in the worst possible way. It turns the involving mythology, story, and
innovation of the first two into a slightly above-average slasher flick.
The only reason it's above average, though, is due to the elements of the
original that remain (Pinhead being the most obvious, though he himself
almost falls prey to becoming a catchphrase wielding shadow of his former
self). But other than that it's a basic genre-exercise.
When others point out this movie's "strengths," they point out its strengths as a slasher flick or self-parodying sequel (a fate that many horror franchises suffer from). This is greatly opposed to the first two of the series, which could actually stand on their own as strong *movies* (though the second one got somewhat confused by the end), not just horror/slasher flicks.
Sensing a chance for a real story, a newswoman stumbles upon a
sociopath art dealer who's in possession of the box that summons
Pinhead and his demons and forces her to find its origins to finally
Frankly, this one is one of the most underrated efforts in the series. Among the many positives here is the fact this one finally manages to uncover the real past involving Pinhead and his connection to the box which causes this to really connect the series together. By doing that in accordance with the heavy use of action within this, as there's no shortage of exciting, high-energy action scenes, this one is packed to the brim with exciting elements. The opening hospital scene that sets up the cause to investigate the nightclub, the first encounter in the bedroom with the Pinhead statue, the gradual realization of the friends turned into the new Cenobites and the massacre at the nightclub are just some of the rather impressive and exciting action through this, and each one tends to get all the more exciting by gaining in spectacle that causes all the rather enjoyable fun throughout. Of course, the real spectacle here is the mad dash through the streets where there's non-stop threats on display, from the initial attacks like the possessed power-lines and charged water chasing after her to the blasting eruptions underground and finally the appearance of the Cenobites which lead s to all sorts of chaos as their new-found powers are put on display against the few passersby left on the street as well as trying to contain her running down the street. This is a lot of fun and really gets the kind of exceptionally enjoyable and gory action-packed sequence that scores quite well as a show highlight as well. There's also the rather fun feature of having Pinhead around for quite a bit of screen-time being ably rewarded with him fully getting those glorious monologues and dementedly enjoyable quips that he goes through on the others, and the ones in here are among the better ones in the series due to all the extra time he has. That also gives him some fine extra scenes as the tormenting of the priest in the church and the release from the statue which really completes this one quite well. The only thing that really hurts this one is the battle in the secondary dimension that really just amounts to all sorts of posturing without really doing anything and is filled with some lame special effects throughout despite being quite impressive the rest of the film. It's the only real flaw in this one.
Rated R: Graphic Violence, Graphic Language, Brief Nudity, a sex scene and mild drug use.
Hellraiser III gives the series a much needed jump-start, following a great and classic original, and a strong first sequel. Unfortunately, the 'Female Cenobite' (mysteriously left unnamed), 'Chatterer,' and 'Butterball' are gone, but a series of about half a dozen new Cenobites keeps the hellish imagery alive. I think that one of the better elements of this instalment in the series is that they show all of the new Cenobites being created. In the anti-religious tradition of the Hellraiser series, some of Pinhead's antics in the church near the end of the film are great. When the priest holds up the cross to him, Pinhead melts it in his hand, and at the same time he utters an absolutely brilliant bit of dialogue, 'Thou shalt not bow down to any graven image.'After that, Pinhead's self-crucifixion scene was wonderfully sickening, yet his intentions in doing that were both clearly presented and morbidly farcical. Jesus was crucified, paying for man's sins, thereby saving mankind from damnation and becoming the subject of countless masses of people's unquestioning adoration, inspiring Pinhead to crucify himself and state that 'I am the way.' Therefor the underlining meaning is that Pinhead will sacrifice himself, paying for man to 'live' in sin. Utterly brilliant! Besides all that, I think that this instalment had some of the best death scenes of the series so far, particularly in the nightclub. Some of that was almost physically painful to watch, a sure sign of success for a horror film. Not only was that Boiler Room massacre convincingly portrayed, but writer Peter Atkins also had the excellent idea to have poor Terri walk through the masses of mutilated bodies after the massacre had ended. Pretty uplifting stuff, huh? A little too gory and bloody? Don't moan about that, it's not supposed to be good, clean, fun. This is a horror film, and by definition, horror films are supposed to be horrible. Hellraiser III achieves this horror better than either of the two that preceded it, finally leaving the viewer satisfied. With its bravura camera-work, fetishistic Cenobite designs, nerve-jangling soundtrack, and literate Peter Atkins script, Anthony Hickox's film is a worthy successor to Clive Barker's flesh-ripping original.Freed from the stone prison of the Pillar of Souls, Pinhead quickly dispatches decadent rock club owner JP Monroe. Hearing of JP's gruesome death, TV reporter Joey Summerskill sniffs a scoop, but what she finds is something more nightmarish: Pinhead and his new purveyors of pain, Camerahead, CD and Barbie.
*** This review may contain spoilers ***
The introduction of some corny-looking cenobites, liven this bleak film
up just enough to call it decent.
The plot for this film was rather uninteresting in the sense that no excessive action takes place. The idea of Pinhead and his gash being sent to Earth on a quest to take it over is a storyline that has been used for countless movies involving villains.
I guess it would be safe to say that this film hardly compares to any of the other installments when it comes to the characters, and also the story itself.
Easily one of the worst installments in a franchise that you'd think would be hard to tarnish.
A reporter (Terry Farrell) is looking for the big story and finds it at
The Boiler Room, a popular club where a young woman witnessed someone
die in a very painful manner. Also, the reporter has dreams of her
father, who died in Vietnam. And the origin of Pinhead!
Some people consider this one the best in the series. I am not one of those people. While there are many great aspects of this movie, the primitive special effects seem to subtract from the overall story. And continuing in the Hellraiser tradition, many things simply do not make sense. Who opened the art store? Where did the statue come from? Why does the statue not attack JP at first, but will later on?
As I say, the special effects are primitive. And I do not mind that, because at least they put in a solid offering. But some things just seem like they could have been done better. In Hellraiser parts 1 and 2, there was no problem creating a person without skin that looked creepy. We see another example in this film, but they also get "slurped" into a statue and this is very unconvincing. In 1992! The effects of the original "Nightmare on Elm Street" blow this out of the water. Others have complained about the cenobites looking like Borg rejects, and that is a fair point -- this film goes above and beyond in incorporating terrible ideas into cenobite bodies.
Terry Farrell does a fine job as the lead. She is a strong heroine, and unlike your typical horror woman, she has more brains than body. You might recognize Farrell as a character from the greatest sitcom on television in recent years, "Becker".
The plot is respectable. There really was no more story to tell about the Cotton family at this point. Moving on to show what lengths evil will go to in order to return to Earth was a good change. And brought to us by Peter Atkins (also the writer of part 4) and Anthony Hickox (who directed the incredible "Waxwork" films).
I do not care for the change in direction the films take from here, though, regarding the cenobites. I understand after explaining Pinhead's origin (something I am very thankful for) they opened the door for more cenobites, but this film and the fourth introduce some of the lamest characters with the lamest one-liners. The subplot of the father is okay, but also makes the Hellraiser mythology even more complex than it is... now we have Hell, Earth, the mind, who can and cannot touch the Lament Configuration... oy vey.
Obviously when a horror series gets going, the sequels are not going to be what the original was. You get paler and paler copies of the original (like "Multiplicity"). But "Hellraiser", unlike "Leprechaun", at least kept the quality respectable through part four... and some (though not myself) would say even up to part six. Check this one out to clear up some mysteries, then catch part four to get the whole story.
The third entry in the Hellraiser series shows a distinct change in
approach, aiming itself squarely at the teen market rather than at the
'serious horror fan'. Pinhead returns once again, dishing out pain and
misery to all who cross his path. It is up to intrepid reporter Joey
Summerskill (Terry Farrell) to try and send the spiky-bonced monster
(and his legion of all-new 'cool' cenobites) back to Hell.
Anthony Hickox, director of straight-to-video horrors such as Waxworks and Sundown:Vampires in Retreat, eschews the rather serious and dark tone of Clive Barker's original movie, opting instead to go with a rather more accessible plot that itself takes a back seat to the special effects. This film is all about the visuals and Hickox loads the film with some very effective (and some not-so-quite effective) makeup and optical FX. And in true early-90s fashion, the action is accompanied by a pretty awful 'metal' soundtrack.
Fans of the first two films may not like the new direction the film takes, but those who found Barker's vision rather too twisted in the first place won't be overly offended. I enjoyed the movie for what it wasa big dollop of B-movie excessand in that respect, I think Hickox has done a pretty good job. It won't win any awards, but you'll have fun while it lasts.
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