Hellraiser (2022) Film Review

Hellraiser is an iconic product whose reinventions haven’t turned out to be the best decisions. Reasons vary, but for me it has a lot to do with the massiveness of Clive Barker’s material that was greatly adapted in the first adaptation made in 1987. Only he knew what to include from his novel and what to leave out.

In David Bruckner’s 2022 rendition, things change. He has no intention of remaking the same film and goes with his own screenwriters to helm a modern version of a tale that isn’t easy to dig into. In other words, he does his best, and he delivers an average horror film that will be quickly forgotten.

Not much of a story in Hellraiser (2022)

In the 2022 version, there isn’t much to explore. A device is put in the hands of someone who can’t even control herself. Her brother suffers the consequences when in an accident involving the device he gets killed. Riley starts investigating about the wicked apparatus and discovers its past.
Yes, it’s an enhanced version of the Lament Configuration.

Is there more?

The weird thing is a character’s journey should feel natural, like it’s very often in Bruckner’s film. In Hellraiser, the story is developed with nothing but a final delivery in mind. It makes the road truly boring when we’re supposed to accompany a girl who’s riddled in emotional trauma, but is simply a spoiled version of a teenager with something to face.
The third act in Hellraiser is very long and it’s truly remarkable from an audiovisual perspective. This is the thing fans wait for and get when a director decides to show plenty.

Should you watch Hellraiser (2022) or stick with the original?

Cenobites are cool and they’re practically the only reason why you should watch this. Unfortunately, you will have to endure a snoozefest of a film whose loudness comes from a character we find it hard to root for. But hey, there’s worse out there. At least, the story in this one, as much as you have to read between the lines to get it, is interesting.

Hits

• Makeup effects are very, very good.
• Lovett’s score is great when combined with the classic Chris Young melody.

Misses

• Main character was annoying.
• The dynamics in the group of characters were terribly unconvincing.

Federico Furzan

Film critic. Lover of all things horror. Member of the OFCS. RT Approved Critic.