Notes
My quick rating - 5.5/10. Saying my wait for a new Hellraiser has been long is an understatement, and expectations were sky-high going in. This is one of those films where the score keeps shifting while thinking back on what it got right and what it completely missed. It’s impossible not to compare it to the original film or Clive Barker’s novel, especially for those of us who grew up with both in our early teens.
The gender swap of Pinhead caused some panic for fans when it was first announced, but Jamie Clayton handles the role surprisingly well. The other returning cenobites are also crafted and performed with care. That said, the true soul of the lore has been largely stripped away. Nearly everything tied to the mythology of the original book has been abandoned in favor of accessibility.
A major casualty is the puzzle box itself. In this version, anyone who touches it can open it with the ease of cracking open a box of cereal. The original mystique—where opening the Lament Configuration required desire, obsession, and intent—is gone. The cenobites once appeared only when called across worlds, and their presence carried buildup and mystery. Here, by the second half, they’re simply lurking around like they’re waiting to get into a nightclub. The idea behind why they can’t enter the house is clever in concept, but it contradicts established rules.
In Barker’s world, the box targeted those seeking deeper, often darker experiences. One of the most iconic concepts came from Hellraiser II: “It is not hands that call us, it is desire.” The cenobites weren’t random butchers. They punished those who sought them out, willingly or not. In this new iteration, anyone nicked by the box—thanks to a new spike mechanism—becomes a target. It shifts the tone from cosmic punishment to something closer to a typical slasher setup.
The kills themselves feel surprisingly tame, which is shocking considering Clive Barker co-produced this version. The brutality, erotic horror, and philosophical depravity that defined the franchise have been heavily dialed down.
On the positive side, the cast works well for a reboot. Odessa A’zion stands out as Riley, whose involvement begins after stealing the box with her boyfriend, unaware of its nature. David Bruckner once again proves he knows how to make a film look good. His attention to detail and use of wide, sweeping shots make several scenes visually striking. There’s even a strong nod to Hellraiser II that nails the atmosphere and aesthetic. Unfortunately, those moments are rare.
The overall presentation works for a modern reboot, but longtime fans will likely walk away disappointed. The only reason this version isn’t being completely torn apart is the sense that Barker probably recognized that today’s mainstream horror audience isn’t prepared for his brand of extremity and allowed the tone to be softened accordingly.
Taken for what it is, the film has its strengths, and newcomers without a basis for comparison may find plenty to enjoy. Bias definitely plays a role here. If Barker had no involvement at all—as with some of the weaker sequels—the criticism would likely be far harsher. If the series does continue, the hope is that future installments can lift the restrictions and return to the true horror roots that made the franchise iconic in the first place.
Xvid
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