The Cenobites are back in the third best entry in the Hellraiser franchise.
Yet the result, which debuted last night as the second secret screening at Fantastic Fest before debuting on Hulu Oct. 7, makes a cardinal mistake in its genesis: its protagonist is an angsty 20-something who drags her fellow 20-somethings into a BDSM-tinged Hell. What feels like a studio note leads to an unraveling of the themes that have allowed the series to endure, even through a series of cash-in straight to video and VOD sequels.
This time, the foolish mortal who opens the Lament Configuration is Riley , a recovering addict who is lured into stealing the demon-summoning puzzle box by her somewhat-boyfriend . Or rather, she's the second person, as a sic-years-earlier prologue shows that decadent art collector Voight , who has now disappeared - as does Riley's brother, the first time she twists and turns the devil's plaything.
Bruckner is faced with a near-impossible conundrum: to refresh the series, but without getting too far away from what was recognizable. It's like how Ben Lovett folds in the instantly recognizable violin sting from Christopher Young's original score. It's in the look of the Lament Configuration: it still looks like the Lament Configuration from the earlier films, just a little bit gnarlier.
As for the Cenobites themselves, the designs by Keith Thompson are intriguing, stripping away the black leather of the originals and replacing it with body modification - skin stretched over bronze and gold, torn away, latticed and threaded, pushed to the limits of recognizable as human, which these creatures once were. Of course, emphasis is placed on Jamie Clayton as the beast formerly known as Pinhead, now back to the official nomenclature of the Hell Priest.
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