Hellraiser (2022)

The Hellraiser franchise has seen more than its fair share of ups and (mostly) downs. Created by horror maestro Clive Barker, adapting from his own novella, “The Hellbound Heart”, the original Hellraiser film introduced audiences to the extra-dimensional, demonic beings known as Cenobites. Since the original film in 1987, the franchise has seen nine sequels with only the first three released in theaters. This franchise has been put through the ringer with cheap, uninspired sequels after another, diluting the innovation of Barker’s original vision.

Fast forward to modern day and the long-in-the-works remake has landed in the hands of filmmaker David Bruckner. Bruckner has become a rising talent since the 2010’s, directing a short for the first V/H/S film, fellow horror anthology flick Southbound, before making a dent with feature films including the atmospheric The Ritual and the dramatically potent, The Night House. Bruckner’s skills as a genre filmmaker make him a strong fit for a reinvention of a property known for its cosmic body horror and he proves himself with this updated take on the classic franchise.

Riley (Odessa A’zion) is a recovering addict trying to get her shit together. Attempting to keep sober, she lives with her brother Matt (Brandon Flynn, 13 Reasons Why) and his boyfriend Colin (Adam Faison, Yes Day) who do their best to be a good influence on her. However, Riley is seeing Trevor (Drew Starkey, The Devil All the Time) with whom she meet at AA. Trevor seems to be less of a positive influence on Riley, getting her to break into a warehouse and look for money to steal. That warehouse leads them to discover a mysterious puzzle box that, when solved, unleashes the Cenobites, lead by the imposing Pinhead (Jamie Clayton).

Now, admittedly, I am not the biggest fan of Barker’s original Hellraiser film, I actually prefer its sequel, Hellbound: Hellraiser 2, but there’s no denying its impact on the horror genre and the influence Barker’s work would continue to have. David Bruckner’s film is more thematically similar to Barker’s original film rather than its many sequels. This is a largely character-based film that takes its time before giving you the Cenobite madness you’ve come for. Bruckner brings a palpable visual craft to the screen, by far the best of the franchise, second only to Tony Randel’s operatic nastiness of Hellbound: Hellraiser 2. A sequence between the Cenobite known as “The Gasp” (Selina Lo, Boss Level) with her lungs openly exposed and a woman dying of lung cancer features a chilling mix of compositions and sound design.

The new Cenobite designs are welcomingly gruesome updates. Gone are the retro leather suits, these agents of infinite pain and pleasure wear only their flesh, with their remarkably detailed impairments all being carved into their skin. Taking over the role made iconic by Doug Bradley, actress Jamie Clayton is an undeniable screen presence as Pinhead, or as she’s billed “The Priest”. Clayton brings a more sultry, enigmatic aura over Bradley’s more striking intensity. Clayton devours lines of dialogue like “accept the pain you have brought”, or when I character says to her “I’ve had enough”, only to bitingly reply with “enough is a myth”.

While Bruckner’s film does occasionally deliver in its sadistic boldly suffering — its gnarliest visuals are saved for the film’s spectacular final scene — it does ultimately feel restraint. The first couple Hellraiser films have a specific edge to them that this film only briefly flirts with. This is a slightly more erotic film than your typical modern horror release, but it lacks the blunt eroticism of Barker’s original, only poking at what’s beneath the skin, ahem, surface. Despite being dumped on a streaming service, it feels as though the studio system has sanded the film of its more overtly kinky or salacious themes. Bruckner does attempt to harken back to the original’s sense of sleaze, the character of Matt is seen lying shirtless in bed with his boyfriend. Colin and are both seemingly doused in baby oil, an homage to the late 80’s/early 90’s when every shirtless body was shiny and sleek.

Running at exactly 120 minutes, Bruckner’s film is overlong, taking far too much time in its set up. The script, written by The Night House duo, Ben Collins and Luke Piotrowski, does establish some decently compelling characters, anchored by Odessa A’zion’s strong performance. However, the addiction story at its center is merely surface and doesn’t necessarily have much in terms of depth or pathos. The narrative is too generically constructed to warrant its bloated runtime.

Hellraiser is a moderately successful reboot of a franchise that’s beyond needing some new blood. Director David Bruckner brings some well-crafted visuals and an unsettling new set of Cenobites, lead by the impeccable Jamie Clayton. However, its bloated runtime and restraint around the source’s more edgier themes prevent it from being a complete success.