‘Hellraiser Review: A Reboot Of The PainFreak Horror Franchise Is Now The Worlds Edgiest Disney Movie

‘Hellraiser Review: A Reboot Of The PainFreak Horror Franchise Is Now The Worlds Edgiest Disney Movie

Every horror movie is about pain, but only Hellraiser is about sadomachism – electricity and pain, his highest calling. Hellraiser, the 1987 reboot of the franchise that spawned nine sequels (time freezes when you think they're suffering for fun), is a film that captures the outrageous appeal of Clive Barker's 1986 novel. Sacred heart. But it took a long time for the new Hellraiser to find what fans of the series would call a good thing. But when it does, the film doesn't hold back. Flesh is ripped and torn, flesh is peeled and cut, flesh is torn wide open by hideous mysterious mechanical devices. The film's violent ending may cause cinematic mutilation after futuristic horror films such as The Tap, The Cage, Saw, the 2018 remake of Suspiria, and David Cronenberg's recent incarnation. ."

Even before its ending, the new Hellraiser could be considered one of the worst horror movies in recent memory. It's a wildlife horror film produced by Disney, and if you're wondering how Disney owns everything — including Hulu, the platform that distributed Hellraiser — how is the brand now associated with a horror series. Devoted to fantastic outdoor sex advice, here's the answer: Hell Rising feels like a Disney movie for most of its two-hour run… except it's flashy. The spirit of the Marquis de Sade.

The characters – Riley (Odessa Hatzion), who looks like a rebellious main, along with his funny girlfriend Trevor (Drew Starkey), his overprotective brother Matt (Brandon Flynn) and his girlfriend Colleen (Adam Faison) – are like "Disney characters". ". " . Say body, body, body. – Yes. The Hellraiser was a killer within an hour of everything being set up. The characters really walked and waited. The film could be called "Body, body, body (with hooks in chains)."

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Hellraiser, on the other hand, was never worth much in that regard. Pinhead, unequivocally the leader/beautician/mentor of the S&M series (his white bald head with perfectly placed rows, like an art installation), eventually became the iconic megaplex horror figure, Freddy Krueger. But who remembers or cares about the people infected with the recreational sickness virus?

In the new Hellraiser, Pinhead, the so-called priest of Hell, teams up with the Cenobites, a group of demon spirits who give new meaning to the phrase "exposed body part" (someone's spine exposed, as if someone had surgery). One of the cenobites walked like an alien alien geisha, one had the jaws of a robot monastic smile, and another had the image of Francis Bacon frozen in a screaming mouth. As for Pinhead, he transforms into a soft, funny, doll version of himself, with baby starry eyes and a sexually ambiguous, soft voice. The fact that the infernal priest is now played by actress Jamie Clayton robs the film of the spirit of Baker's novel. But when Pinhead and his friends go for a ride, the movie turns them into an expensive collection of creature mascots.

The movies grind to a halt when they're not on screen because the only plot seems to be Riley's desire to get her brother back after he's consumed by a space sickness. Trevor, who knew more than he was letting on, probably said something like, "How did you turn a cube out of that ?" He's talking about the Lemarchamp box, the iconic mechanical puzzle box that has always been an icon of the Hellraiser series – it takes the pain out of pleasure and transports your soul to a new world. In Hellraiser, even the complicated logistics of boxing is a metaphor. It starts as an old cube, if you right click and rotate the right corner, it will show and adjust the hidden parts, then it won't be a square anymore. Just as you feel your fist turning into a forbidden shape, you stop being square.

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The new Hellraiser works as a metaphor, like a slaughterhouse. But it doesn't work as a story. And maybe that's because there's something old-fashioned about geeky sensuality on film as a one-way ticket to hell. This movie wants to send you to hell and back, but lately it feels like you're on a dating app.

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