The film was released on October 7 in the United States through the Hulu platform.

David Bruckner returns to the Hellraiser universe to relaunch a franchise that was showing signs of exhaustion after its ten films. First of all, it must be said that the film is not a remake of the original, directed and written by the acclaimed novelist in 1987, but a new story that seeks to update to the new times. However, Barker has been the executive producer and has served as a consultant to the film crew.

Hellraiser opened the door to an entire franchise with ten films, comic books, and also, whole imagery that supported its most powerful premise. But, little by little, the saga’s plots became more nonsensical, extravagant, and absurd. Especially when the elaborate reflection on evil began to be distorted in favor of the gimmick. In the end, Barker’s work eventually declined. However, Hellraiser (2022) restored dignity to Pinhead and its cenobites. 

This new installment of Hellraiser doesn’t really attempt to replicate the deeply ominous, and overtly sexual, tone of Barker’s classic. Instead, it assumes a style that, without necessarily being shallow or much less comedic, is closer to the school of 80s indie horror. This is most visible in the ‘gore’ scenes and the depiction of the monstrous characters, even when it appeals to modern technology tricks.

The new story adapts to the new times and achieves things that the original could not achieve because it did not have the necessary means. In fact, if this version improves on the previous one, it is in the visual aspect and in the design of the iconic characters, without making them lose their essence. All of them are recognizable and have the characteristics that define them but present a more modern and spectacular aesthetic finish.

Hellraiser (2022) raises the level of sensory, almost immersive experience. It achieves this by adding both nods to the iconic story and Barker’s film, from the carefully crafted claustrophobic atmosphere to the recreation of the screenplay’s take on horror. The story set in Barker’s universe for the new millennium has all the solidity of the better-known adaptation.  

Another strong point is the representation from a new point of view of both the Cenobites and the Lament Configuration, which adds interest to its central narrative. They are no longer just diabolical and fearsome creatures, but incarnations of a type of evil that is overwhelming in its full extent and implications. In the original movie, Clive Barker took his characters and recreated them from a clear aesthetic. Bruckner’s version of Hellraiser does so as well. But it also takes the opportunity to give allegorical meaning to the set of elements that transform the monsters into symbols. 

Undoubtedly, Doug Bradley’s performance as Pinhead is iconic. Hellraiser (2022) does not ignore him but sustains his speculation about the existence of such a creature from the contemplation of evil. The monsters of Barker’s reimagination of the legends are connected to the heart of the horror they convey.

Gradually, the film constructs its group of horrific entities from an obscure and delicate beauty. The screenplay of Hellraiser (2022) makes sure to explore what binds the creatures to the human race. It’s not just about opening up the Lament Configuration, but about linking a mysterious sense of predestination with something more abject. It achieves this insofar as it establishes that desire, lust, and pleasure can be versions of a kind of unrelenting dark punishment. 

Added to this, the acting cast has been spot-on. Bruckner had just come from directing the remarkable “The Night House (2020),” which not coincidentally has similarities to Hellraiser. The director proved he has a good hand directing actresses in the genre, from Rebecca Hall’s superb work to Jamie Clayton as Pinhead. Yes, Pinhead is a woman, or at least an androgynous being. This change caused a lot of controversies, but in fact, it is precisely one of the few things that the director wanted to be totally faithful to Barker’s book. The truth is that Pinhead is described as an entity, a being without sex, androgynous.

Clayton has embodied the role of Pinhead to perfection. Physically, her height and facial features are perfect for the character. Her presence, well-dosed by the plot, is really disturbing. Bruckner gives the role played by Clayton a distant coldness, a gloomy look that comes from millennia of knowledge and perversion. It also gives him a deep understanding of human nature. 

However, Bruckner’s film has its weaknesses. The setting is more striking in the first Hellraiser. The dark and grimy aesthetic is iconic. Scenes like the room full of chunks of flesh hooked on irons have become unforgettable. In contrast, in Hellraiser (2022) the feeling prevails that it is always on the verge of reaching the extreme we desire, but falls halfway short.

Hellraiser (2022) allows us to traverse the familiar of Barker’s story and provide a much-needed second wind to the saga. Bruckner’s film ignores the rest of the features and begins at a new point. Fans of the Cenobite saga may enjoy the two films differently, seeing strengths and weaknesses in both productions. For this reason, the two installments are so different that trying to compare them would be a mistake for the viewer. 

More than thirty years later and ten films in between, many of us wondered if it was necessary to keep visiting the same universe. Luckily, Hellraiser (2022) has an incredible script and performance. The best, without a doubt, is the technical section, the mise-en-scene, the new Pinhead, and its cenobites or the soundtrack. Finally, dignity is restored to the original material.