The Hellraiser movie review from Bloody Disgusting does not contain spoilers.
Hellraiser needs no introduction. Clive Barker's debut feature film, which he adapted from his novella Heart of Hell, introduced horror fans to the hellish world of the Cenobites and instantly elevated them to the status of horror icons. The arbiters of pain and suffering return in the eleventh film in the franchise, this time reimagined by House of Night director David Bruckner and screenwriters Luke Piotrowski and Ben Collins. Their Hellraiser takes a more faithful approach to Barker's work, but with new hellish attractions.
Cold Start introduces depraved billionaire Roland Vojt (Goran Visnic) and his experiments with the iconic puzzle box. Six months later, recovering drug addict Riley (Odessa A'Zion) complains to her lover Trevor (Drew Starkey) that she has no money after her last fight with her brother Matt (Brandon Flynn). Matt's skepticism about Trevor and his fear that Riley might relapse turns out to be true when Trevor suggests that Riley enrich himself by infiltrating Voight's mansion. It is there that Riley finds a mysterious puzzle box, unwittingly summoning sadistic supernatural beings from another dimension.
Piotrowski and Collins opt for straightforward simplicity, letting Bruckner's images do the heavy lifting. There is a deep well of mythology here without any support. Riley races against time to learn the history of the object she took from Voight, gradually revealing its purpose and mode of action. This mysterious quality is intriguing and allows the characters to come to the fore. Riley's unstable relationship with her brother creates an emotional core, especially when Matt's boyfriend Colin (Adam Faison) comes into the equation. It's also a clever touch to put a character struggling with addiction at the center, in a world where obsession often pushes people to self-destruction in a hellish conundrum.
Bruckner surprises with the horror atmosphere of the 90s. The clever and ornate design and dark color palette, especially in the back half of the film, are reminiscent of The Dark Castle from the late '90s. Perhaps it is lit too darkly; In some places it is difficult to make out the exquisite new cenobites. Following Barker's original, Bruckner first delays the appearance of the Cenobites, shrouding them in darkness and fleeting glimpses. This less-is-more approach leaves you hungry to see more, which is compounded by the gorgeous creature designs and SFX work by Josh and Sierra Russell. Despite the '90s aesthetic, Hellraiser brings the Cenobites into the modern era by ditching the skin and increasing the amount of mutilation.
Most impressive is Jamie Clayton's inspirational performance as the Hell Priest, leader of the Cenobites. Clayton exudes elegance, strength and menace, and her choices and mannerisms give a glimpse of hellish hierarchy. The film rests heavily on A'Zion's shoulders, but Clayton steals every moment she's on screen.
This new incarnation of Hellraiser favors quiet contemplation over spectacle as it is driven by careful exploration of plot and mythology. This makes itself felt, even knowing that there is still a lot to learn about the internal structure of the box. There is bloodshed, chains, pain and suffering in the film. There is some sex too, although in comparison everything is very tame. Faison brings a moral compass and heart, and A'Zion is entertaining, but it's the Cenobites who continue to hold sway over our hearts of terror. Hellraiser brings enough style and world-building with a mesmerizing new Hellpriest that we'll be willing to sign up for whatever other attractions Bruckner shows us next.
