Earth has been silenced, and mankind eradicated by one final war. Now in the bowels of Hell, Pinhead - leader of the Cenobites - finds himself bored, tortured by his own immortality, and facing the fear that his own dark legion will eventually turn upon him. The only thing left to do? The last possible slice of sensation he can experience? To open the puzzle box himself.
Gary J. Tunnicliffe
Gary J. Tunnicliffe,
Mike J. Regan,
Detectives Sean and David Carter are on the case to find a gruesome serial killer terrorizing the city. Joining forces with Detective Christine Egerton, they dig deeper into a spiraling maze of horror that may not be of this world.
Gary J. Tunnicliffe
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
Like Hellraiser: Inferno (2000) before it, "Hellseeker" was originally a non-Hellraiser related horror script owned by Dimension. To save money on writing a completely original Hellraiser story, the script was quickly edited to insert the Cenobites and references to Kirsty's past with them. A scene written specifically to try and bring the largely unrelated plot in line with the canon of the first two Hellraiser films was subsequently cut, but is available on the DVD as a special feature. See more »
In the beginning when the car is sinking, the left windows on the car are opened, but when the car sinks those windows are closed. See more »
[as he sticks Trevor in the back of the neck with a pin]
Which do you find more exhilarating, Trevor, pain or pleasure? Personally, I prefer pain.
See more »
Pre-credits title: "There is no greater sorrow than to recall happiness in times of misery." - Dante Alighieri See more »
In a time when horror movies have become direct-to-video crap or cheesy first-run crap, how is it that the Hellraiser movies are among the least noticed and yet probably the most clever and impressive sequel
The beginning of the fifth Hellraiser sequel raises something of a moral dilemma, which is extremely rare for a horror movie. After the car crash, Trevor, our hero, escapes from the car after it sinks to the bottom of the river and he rushes to the surface to get air, then returns to attempt to save his wife. At that point, my immediate reaction was that he deserves any suffering that comes to him, since he left his wife on the bottom of the river to go and try to save himself. On the other hand, it probably wouldn't have done much good had he remained down there and lost consciousness right there with her. I guess that's why they tell you on the airlines to secure your own oxygen mask and THEN help your kid.
But while this early scene inspired in me an unusually complex combination of thoughts and emotions, it unfortunately is unable to escape from the destructive presence of reality on the possibility of it happening the way it did. I am willing to suspend disbelief on the premise that the guy was screaming at his wife underwater through the window, watching her drown right in front of his blurred eyes and therefore not necessarily able to think all that clearly, but on the other hand, riverbeds have an overwhelming tendency to be covered with big, round, hard, window-breaking rocks.
When the investigation begins, things start to get a little strange and we begin to realize that there is something weird about what happened in that crash. Evidently the car was found with the doors open, which puts some serious holes in the story about not being able to get the doors open to save his wife. It turns out that he has come back with a spotted memory, and that the crash that we saw at the beginning of the movie may not have been exactly how the event unfolded. Things seem to have happened that he doesn't remember.
I found it highly amusing that the detective that always gave him a hard time because he didn't believe his story was named Detective Gibbons, just because I recently took an Anthropology class in which I learned what a `gibbon' is. I would NOT have been able to keep my cool with this guy though, who was hugely overacting and throwing harsh accusations which were not necessarily unfounded but definitely a little too confident and, if accusations can be this, a little too accusatory.
The best thing about this installment in the Hellraiser series is that it works on a psychological level with the main character. Granted, this is nothing new in the horror genre, but it is done very well here. We never know when he is seeing reality, when he's dreaming, when he's having delusions, inaccurate flashbacks, and there is plenty of opportunity for lots of twists and turns, and thankfully these opportunities are not ignored. I hate it when movies do that (see Hollow Man). Because of this, we never expect things like the startlingly effecting scare in the vending machine, one of my favorite scares in the movie.
Pinhead has thankfully been given a much more prevalent role than he had in the rather disappointing Hellraiser Inferno, the least Hellraiser movie of all of them, and it's morbidly pleasing to see some of the familiar Cenobites return, like Chatterer. The movie closes with the old `leave him and take me' cliché, but as a whole it is a quality entry in the Hellraiser saga. It is well-written, well-thought out (almost unheard of for a horror movie these days), and entertaining, and most importantly, it is more than just another cash in on a successful series. There are a lot of horror series' that are well past their time to pass away, but as long as they keep putting this much thought and creativity into the Hellraiser films, I say there is infinite opportunity for sequels.
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