Directed by Anthony Hickox
Starring Doug Bradley, Terry Farrell, Paula Marshall and Kevin Bernhardt
Boring trivia information for this review: Hellraiser III was the first movie in the franchise that I saw, and I would highly recommend this course of action to any series newbies. Folks, I've heard the complaints about this movie - that it's too goofy, too much of a departure form the first two films, that Pinhead turns into Freddy-lite, etc. Weirdly enough, it was all of those qualities that made me think this flick was really cool back in 1996. I can't say that I would have thought the same if the original cerebral, heavily visually-representative films had been my first exposure to the series. Or maybe I'm just dumb.
To be sure, I haven't read too many positive things about this flick. It was supposed to be the big jump that the series took toward mainstream accessibility, and the budget was obviously a little higher than the two British films that preceded it. Alas, it didn't take long for both critics and audiences to collectively take a big dump over the entire thing. Going by the standard "keeping with the spirit of the series" barometer, yes, this movie is indeed the ultimate failure. That pretty much goes without saying, given that this film features a bunch of Borg-looking cenobites unleashing madness in the L.A. streets. If you're willing to overlook this, however, you've got a pretty fun little movie with (more importantly) some pretty likable lead characters. Let's check it out.
While it isn't spelled out for the audience, the events of Hellraiser II (inducted into the Registry long, long ago) have left the Cenobite known as Pinhead split up into two separate entities - his human side, a World War I British Army Captain named Elliot Spencer (played in this film in a dual-role by Bradley, and he is quite simply masterful in the scenes where he is without the makeup - not to say that he isn't as Pinhead), and the pure evil side of his id. A.K.A. Pinhead. If you'll recall, the Cenobites were confined, along with the Lament Configuration itself, in a large stone pillar at the end of that film, and it's a few years after this that this film picks up.
The early entries in the Hellraiser series were noted for their human villains, and this one is no different. Meet J.P. Monroe (Kevin Bernhardt), insanely douchy spoiled club owner who buys the pillar essentially because he thinks that it looks cool. Monroe lords over a night club called the Boiler Room, host of countless grind parties and player of some pretty damn good early-'90s heavy metal music. I've read some reviews state otherwise, but I think Bernhardt is pitch-perfect as Monroe in these early goings - banging chicks, bragging himself up, he's hatable in the best way.
Our REAL lead character in this go-round is Joey Summerskill, played by Terry Farrell (Dax from Deep Space Nine). Joey is a TV reporter on the trail of the story of her life after paying witness to a writhing victim on a hospital bed, chains embedded in her skin. You know, a common occurrence in Los Angeles. While tracking down the source of this disturbance, Joey meets Terri (Paula Marshall), a young Goth who used to date J.P. and who now has the Lament Configuration in her possession. These two characters, by and large, are insanely likable, and both actresses do an excellent job making them more than just eye candy. Although that certainly doesn't hurt. Eventually, Joey even lets the orphaned Terri stay at her house. Together, the two of them continue connecting the dots (including some video footage of Kirsty Cotton from the orignal films) and learn all about the Cenobites, Pinhead and the box's power.
Meanwhile, back at the club, it doesn't take long until the pillar being kept in J.P.'s hangout like a trophy claims its first victim in one of J.P.'s recently-fucked clubgoers, and it isn't long before Pinhead is making his presence felt, cutting long promos and ordering J.P. to bring him more victims so he can get a new body. This plot device is a staple in the first three films of the franchise. Lo and behold, after an argument between Joey and Terri, J.P. is able to call his ex-girlfriend down to the club where we get a SWERVE and just like that, Pinhead is walking around freely amongst the living and gives us a Kill Bill-style nightclub massacre scene that I thought was really, really cool at 13 years old. And it's still sort of cool today.
This is where the movie really takes a detour and where, I'm guessing, a lot of the hardcore fans don't take a liking to this movie. From that point forward, the movie essentially becomes a monster movie, with Cenobites rampaging all through Los Angeles in what amounts to an extended "Final Girl" sequence with Joey. Albeit with several dozen passers-by and witnesses to the entire proceedings. I actually find this stuff to be fairly entertaining, mainly due to the fact that I got to genuinely like the character by this point and was invested in what happened to her. Amazing how that works. Modern horror filmmakers, I'm talking to you.
One final note: this film easily contains the most on-camera time for Doug Bradley out of any other film in the franchise. Maybe even COMBINED. It's a move that is really appreciated, because the man is quite simply a phenomenal actor. Here, playing two vastly different characters, it's even more apparent. Joey's interactions with Captain Spencer are some of the highlights of the film, and as always, his portrayal of Pinhead is something to behold. People say that less is more, but I think this is one of the rare instances of MORE is more.
In all fairness, the movie occasionally does tread into dopey territory, particularly with the fact that Cenobites now appear to be walking weapons of some sort or another in this movie as opposed to a representation of what their inner darkness entails. But now I'm starting to sound like stuffy English major guy, and I'm most assuredly not that guy. If you're looking for a horror movie with some good acting, likable characters and more than its fair share money murder sequences (including an unforgettable and stomach-churning sequence in a church), look no further.
*** 1/2 out of ****. Partly due to my own nostalgia, partly due to coolness, and partly due to the fact that every movie that comes in the franchise after this is nowhere near as good.
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