“Hellraiser: Bloodline” (1996), the saga’s fourth film, might be of interest to fans because it tells the complete backstory of the Puzzle Box. Then again, it might not be, because it diverts from the comics (where this story was originally told) and presents the story as if there is one Box, when there are actually several in the film series.
It’s probably of less interest to casual horror fans – and indeed, that was the case at the time. It turned out to be the last theatrical “Hellraiser” film (although six followed straight to video, with the 11th straight to Hulu). Ultimately, it was of low interest even to the director; Kevin Yagher opted for an “Alan Smithee” credit rather than have his name on the film.
The skin you’re in
At only 85 minutes, “Bloodline” isn’t pure hell to watch. For gore fans, it has those classic shots of hooked chains shooting out of the Hell dimension to rip into people’s skin while Pinhead (Doug Bradley, keeping a straight face, perhaps so he doesn’t get poked) pontificates about how pain is the ultimate meaning of existence.
“Hellraiser: Bloodline” (1996)
Director: Kevin Yagher (as Alan Smithee)
Writer: Peter Atkins
Stars: Bruce Ramsay, Valentina Vargas, Doug Bradley
Another good gore scene finds the human version of Angelique (Valentina Vargas) being flayed and then a hell princess inhabiting her skin, looking identical. This is the most amusing case of “Um, that’s not how skin works” prior to 1997’s “Face/Off.”
Conceptually, “Bloodline” is not bad, as we explore three time frames. In historic France, toymaker Phillip LeMarchand (Bruce Ramsay) innocently creates a Puzzle Box but he gifts it to a sadistic old sorcerer who makes it into a Hell gateway. The sorcerer’s assistant is played by Adam Scott, which might amuse “Parks and Recreation” fans.
In 1996, the ageless Angelique stalks confused LeMarchand descendant John (Ramsay again) and his wife and kid. And on a 22nd century space station, LeMarchand descendant Paul (Ramsay yet again) aims to destroy the Box and Pinhead, somehow.
Each time frame is stagey and talky yet doesn’t go anywhere interesting. Characters don’t develop under Peter Atkins’ pen, even though Ramsay does yeoman’s work in the triple role. Atkins does better character writing in parts two and three, which is why those are slightly superior.
Like if ‘Event Horizon’ was boring
Also, the production design falls off in “Bloodline.” Notably, the future segment looks like a SyFy Channel movie, particularly when aboard the space station. I do like the establishing shots, though, with an unusually starry sky as the backdrop.
The plot plays out like “Alien,” with a hellhound stalking the officials who investigate what Paul LeMarchard is up to, but with none of the tension or scares. The Cenobite version of a dog can be appreciated on practical-effects grounds. But if you want “‘Hellraiser’ in space,” you’re better off with the following year’s “Event Horizon.”
One official – Christine Harnos’ Rimmer – entertains what Captain LeMarchand has to say. A better film would play up their budding relationship against the tense backdrop of a hellhound, Pinhead and a gateway to Hell looming on the station.
True momentum never quite develops; the picture relies on the artificial momentum of switching time frames. “Hellraiser: Bloodline” drifts to a rote conclusion (I guess Pinhead is “defeated,” but I have no doubt he’s as immortal as he claims to be) as my brain drifted away to more interesting topics.