Hellraiser: Inferno
Original Release Date:October 3, 2000
Review Date:
03/06/14
Ah, the (in)famous 'Hellraiser' movie series. What started off as such a pitch black, subversive pair of theatrically released films (see 'Hellraiser' [1987] & it's under appreciated sequel 'Hellbound: Hellraiser II' [1988]) very quickly de-evolved in to low rent, made on the cheap, direct to video dreck that essentially just exists to line the pocket books of the Brothers Weinstein (owners of the series' current distributor, Dimension films). There has been talks recently of a reboot. Hell, if they can find a hot, up-&-comer to give it the full 'Rob Zombie' treatment (i.e. some one to re-envision the series concept & break it out of it's very own direct-to-video purgatory), I would probably be the first in line for that ticket. Alas, as it stands, currently all we can do is celebrate Pinhead & the gang's past glories, hoping the bright spots will some how blind us to the blemishes (I am looking at you 'Hellraiser: Bloodline'!).
Aside from the previous mentioned first & second installments, I think many a horror geek would agree that one of the said bright spots includes the fifth installment 'Hellraiser: Inferno'. Ironically this was indeed the first chapter to bypass theatrical release altogether and go straight to video. And upon first glance the film may appear to be another ho-hum sequel (especially if one were just to quickly glance the film's some what generic 'Pinhead-just-sorta-staring-into-space' cover art). Yet as they say, the devil is in the details (Mwha-ha-ha-ha-ha! Get it! The Devil! Hellraise....errrr.... sorry).
Ya see, the young fresh face given the reigns to the project was a Mr. Scott Derrickson. I actually remember the film's release in the late 90's/early 2000's (although it wouldn't be until recently that I actually sat down to watch the thing from start to finish). There definitely was a palpable buzz surrounding it. 'The-pic-is-better-than-it-has-any-right-to-be' sorta buzz. And I remember It was Mr. Derrickson who was getting this praise put on his metaphorical filmmaker's lapel as a badge of honor of sorts: "The kid did a lot with a little; Give 'em his gold star! The son of a bitch has earned it!" And it was very likely this buzz that elevated Derrickson to bigger & better things ('The Exorcism of Emily Rose [2005], & a personal favorite of mine 2012's sinister Ethan Hawk starring vehicle aptly titled 'Sinister').
Back to the pic. 'Inferno' has the look and feel of a really good 90's horror themed show ala Millennium, or Tales from the Crypt. And much like that later show's dark morality tale set up, 'Inferno' also has a moral ax to grind with its protagonist. Said protag is a crooked Denver detective, Joseph Thorne, who skims drugs & money off the top of his assigned crime scenes. He is the type of dude who kisses his wife and daughter goodnight and then prowls the streets for hookers to bang doggy style in seedy hotel rooms. However, all this bad cop bravado is soon brought to a halt when Thorne finds a mysterious puzzle box in his possession. Fan's of the series know that where there be a mysterious mystical puzzle box, there be Cenobites (the demonic judges who usher damned souls from our world into their own personal hell). The performance of Detective Thorne by Craig Sheffer (who previously starred in another flick with Clive Barker source material, Nightbreed) is rather effective and, like Derrickson's direction, he goes above and beyond the call of duty. A tool in Sheffer's acting tool box is definitely his eyes. He is rather good at conveying the exceeding levels of despair behind the the cold exterior of our crooked cop through his ocular portals. Also of note is the ever reliable character actor James Remar (Dexter's dad) as the psychologist/ Episcopal Priest that Thorne is ordered by his concerned Chief to go see. Remar strikes a similar chord he would go on to perfect as the fatherly voice of reason in Showtime's 'Dexter'. Surprisingly, Doug Bradley (Pinhead) is used more sparingly in this chapter and I for one thought this to be a superb choice. Using Pinhead more as a seasoning, rather than a main course stuffed down your throat, brings him back to being a horrific phantom judge of sorts, hovering behind the scenes until his opportune moment. Derrickson & his co-writer Paul Harris Boardman give our devilish anti hero a great speech at the end that is punctuated by a pitch perfect last line.
One unique aspect that I think may get glossed over in many reviews/ recollections of this unsung gem is that it was actually made by a man who believes in hell & devils & eternal judgement. From what I have read on Scott Derrickson, he is a man with Christian beliefs. It is these beliefs that, I think, make this addition to the series all the more impacting. It is an often swept under the rug concept that the horror genre is firmly rooted in a sorta Judeo-Christian understanding of the world. I think it was Stephen King himself that once said that many of the great American Horror stories have the moral fabric of a Puritan woven within their themes. It is the Christian world view of a selfish, lust filled life leading to a tormented, damned afterlife that Clive Barker must assuredly have drawn heavily from in the first place in order to even conceive of such a demonic tale of carnal pleasure/ hedonism colliding with torment/ damnation. Whether or not you consider yourself among the devout, I would think you at least gotta respect some one like Derrickson. Dude actually has an intellectual/ spiritual investment in these matters. And in this humble viewers opinion it makes this effective little film about the moral weight & eternal impact of intentional misdeeds all the more thought provoking. Plus it's just fucking cool to watch those signature meat hooks come out towards the end and do their stuff.
- Dustin
