When films are made quickly, this usually happens at the expense of their quality. One of the examples can be provided by Hellraiser, Cliver Barker’s 1987 low budget horror film which became surprise hit and, just like with many such films in 1980s, spawned inevitable sequel. Hellbound: Hellraiser II, 1988 film directed by Tony Randel, was delivered in cinemas a year after its predecessor and the haste in which was made can be seen by more perceptive viewers.
Producers, on the other hand, appeared to be aware that some of the potential viewers simply won’t have to time to watch the original Hellraiser. This problem is solved by the opening scenes that are taken out from the previous film and, later, by the protagonist Kristy Cotton (played by Ashley Laurence), describing her traumatic experiences to the police investigating multiple murders at her family’s home. Her stories about evil uncle Frank (played by Sean Chapman) coming from the dead and demons from Hell called Cenobites aren’t believed and she is put into psychiatric hospital managed by Dr. Channard (played by Kenneth Cranham), scientist who likes to perform bizarre experiments and is also obsessed with the occult and paranormal. Channard takes great interest into Kristy’s stories and tries to verify her claims by dropping blood on mattress where Kristy’s evil stepmother Julia (played by Clare Higgins) died. This results in Julia’s resurrection, although in grotesque skinless form, so the good doctor, who nevertheless got seduced for her, tries to solve that problem by providing her with patients that would be killed by her. In the meantime, Kristy receives message from she believes to be her late father who is in Hell and needs help. When Julia and Channard use autistic girl Tiffany (played by Imogen Boorman) to solve puzzle in order to open gateway to Hell, Kristy follows them.
Speed of production reflected most on the script by Peter Atkins, which is full of plot holes and inconsistencies. Some of them are partly result of Andrew Robinson, an actor playing Kristy’s father in previous film, refusing to appear in sequel after the character being written into the script. On the other hand, Atkins toyed with some of the original Hellraiser concepts, especially in the case of Cenobites which are, despite their demonic powers and image, revealed to be former humans. On one hand, it cemented the status of their leader Pinhead (played by Doug Bradley) as one of the more interesting 1980s horror icons and the brief prologue showing his origin story as 1930s British military officer Elliott Spencer is intriguing. However, their human origin removed Cenobite mystique and made the final showdown between Cenobites predictable. Director Tony Randel, on the other hand, does solid job trying, and at least in first part, succeeding in hiding the film’s low budget. The audience, at least those with the taste for gorier 1980s horror films, is most likely to impressed by graphic scenes of torture and mutilation which required inventive make up effects and later created problems with censorship. The cast is mostly good, especially in the case actors that repeat their roles from previous films. Ashley Laurence is again credible Final Girl, Doug Bradley is intriguing as Pinhead while Clare Higgins again shines as evil and depraved femme fatale. Her role is even better because of the great chemistry with Kenneth Cranham, experienced Shakespearean actor (who was allegedly talked into role by his grandson, enthusiastic fan Hellraiser) who marvels in the seemingly stereotypical role of mad scientist. The second part of the film, which is taking place in Hell, is interesting because it shows producers discarding typical iconography of fire and brimstone and instead showing Hell as huge labyrinth. Unfortunately, that part of the film is compromised by low budget that made special effects bad even for 1980s standards. What rescues the film in that part, and as a whole, is Imogen Boorman, young but very talented actress that, despite her character being slightly eccentric, provides the audience with necessary anchor to normality and goodness. Just as the first film, the second suffers because of the epilogue that suggests another sequel, but Hellbound nevertheless can be recommended to genre fans.
RATING: 5/10 (++)
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