A shady businessman attempts to piece together the details of the car crash that killed his wife and rendered him an amnesiac-- and left him in possession of a sinister puzzle box that summons monsters.
Troubled young Priest Father Farrell returns to deserted house that cost his friends their lives nearly 20 years ago. Plagued by guilt, flashbacks and curiosity, Father Farrell attempts to ... See full summary »
Kirsty Cotten is now grown up and married to Trevor Gooden. Her memory of the events that took place back at her parent's home and the mental institution have dimmed, but she is still traumatized. One fateful day, the two get into a fatal car crash, killing Kirsty. Now, Trevor finds himself in a strange world full of sexy women, greed and murder, making him believe he may be in hell. He follows the clues all the way to Pinhead. Written by
Dimension films placed the cast and crew under a gag order, hindering Rick Bota's opportunity to promote the film when Fangoria magazine attempted to do a cover story on the film. Star Ashley Laurence, however, broke the gag order to speak about the film, claiming that she had only been paid enough money to make a payment towards a new refrigerator. See more »
During the opening scene, two ramps are visible when the car swerves off the side of the overpass. See more »
[as the Seller of the box]
Wherever there is hate, violence, depravity... a door will always be found.
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Pre-credits title: "There is no greater sorrow than to recall happiness in times of misery." - Dante Alighieri See more »
Hellraiser: Hellseeker. In directing Hellseeker, the sixth film in the series, Rick Bota returns to Barker's original for inspiration; something that is evident throughout this surreal and brilliantly twisted piece.
Much has been made about Ashley Lawrence's return as Kirsty Cotton and some may be disappointed in the small amount of screen time she actually has; however by the films end you can fully appreciate her importance and the final twist should rectify any misgivings you may have had.
As with the first two and Inferno this is a movie about ideas and not gore or monsters. The shocks and 'gory' moments that do occur have a reason behind them; often one that has a moment of clarity towards the end (for instance the scene with the eel). Also, the images of blood are portrayed in such a way as to show a beauty in the contrasting reds and its illumination; all things that help connect this to Barker's original.
A great deal of love was put into its direction and cinematography; Pinhead once again appears amongst blue, slat lighting and a room decorated with chains. However, this isn't simply a rehash or indeed a vague attempt to emulate the past; the story looks forward and develops Kirsty's character and her relationship with the Cenobites. This is a women whose been held on to by her father, lusted after by her uncle and manipulated by her step-mother; this may be in the past but it all plays into her actions within this film. Kirsty Cotton aside, the real star is Dean Winters who plays her husband Trevor. At first appearing loving and devoted his true colours soon start to show as he undergoes horrific dreams and startling visions; however this isn't the same path Joseph took in Inferno. Whilst the detective knew of his 'infidelities', Trevor's amnesia allows us to learn his real personality as he does himself thus giving us much more sympathy for him, especially in the end where he fully understands who he is. Whilst still not quite up to the heights of the original two films it does maintain the advancing high standards set by Inferno. Once again the human characters are the story and the Cenobites are there simply as a means to an end. Surreal, dark and manipulative, this film is a superior piece of modern day horror. 8 / 10.
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