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Review: ‘Hellraiser: Judgement’ Verdict, a Step Up in the Franchise

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Hellraiser as a franchise seems to be as immortal as the Cenobites themselves, especially the iconic Pinhead. We’ve gone to Hell and back, to outer space and the world wide web, and needless to say, there have been dips in quality. After all these years, we find ourselves at entry number ten with Hellraiser: Judgement, and surprisingly, a return to form of sorts.

Image via Youtube

The story follows police detectives and brothers, the religious but quick-tempered Sean Carter (Damon Carney) and the more grounded and analytical David Carter (Randy Wayne) as they investigate a series of brutal serial murders perpetrated by a figure known only as The Preceptor, who kills based on violations of the Ten Commandments IE cutting off the hands of young thieves and leaving them on display. They are joined by the level-headed Christine Edgerton (Alexandra Harris) as they seek out the Preceptor, ending up snared by a concurrent plot by Pinhead and his new Cenobite crew to entrap and capture sinful souls.

The project was written and directed by FX veteran Gary J. Tunnicliffe, who also stars as one of the lead Cenobites. The German accented Auditor that calculates a captive’s sins. Tunnicliffe shows his love and appreciation for the roots of the franchise while also attempting to expand on the lore. Even setting the Cenobite’s base of operations at the familiar location of 55 Ludovico Place. As well, there’s The Assessor (John Gulager), who devours and regurgitates the written sins to a Jury of naked women, who then send the accused to the Butcher (Joel Decker) and Surgeon (Jillyan Blundell), a grotesque giant hunchback with a baby-mask and a gas masked gimp with twin blades. These Cenobites stand on their own, though their aesthetic is a little different from the usual types with leather and disfigurement. Standing out from returning Cenobites like Pinhead and even Chatterer.

Image via Youtube

After so many DTV entries, Hellraiser: Judgment is a breath of fresh air as it truly feels effort was put into the writing and production. And major kudos for doing so on a rather limited budget. The detective storyline is rather hit-or-miss, but the Cenobite scenes are on point. Now, for the pale white, nail encrusted elephant in the room: Pinhead. Sadly, Doug Bradley left the franchise with Hellraiser: Revelations but the Pinhead of this film, Paul T. Taylor makes a solid effort. Capturing the Cenobite leader’s presence an sense of forboding, acting as more of a calculating figure from behind the shadows.

This isn’t just Pinhead going around killing people as some of the sequels sadly reduced the character to. He has a philosophy and commands his Cenobites to do his bidding. The addition of an angelic seeming character, Jophiel (Helena Grace Donald) attempting to sway Pinhead did feel a bit out of place, bring the mythos to more Biblical terms rather than cosmic sado-masochistic horror.

Overall, Hellraiser: Judgment is a step in the right direction. It’s been compared to being a fan-film, but if anything, that’s a badge of honor at this point. Who knows the roots of the franchise better than fans? If you’re a fan of the more subdued original Hellraiser films, this is definitely worth checking out, and making judgement for yourself.

Hellraiser: Judgment is now out on Blu-ray and DVD.

Image via Movieweb

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Editorial

Why You May NOT Want To Go In Blind Before Watching ‘The Coffee Table’

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You might want to prepare yourself for some things if you plan to watch The Coffee Table now rentable on Prime. We aren’t going to go into any spoilers, but research is your best friend if you are sensitive to intense subject matter.

If you don’t believe us, maybe horror writer Stephen King might convince you. In a tweet he published on May 10, the author says, “There’s a Spanish movie called THE COFFEE TABLE on Amazon Prime and Apple+. My guess is you have never, not once in your whole life, seen a movie as black as this one. It’s horrible and also horribly funny. Think the Coen Brothers’ darkest dream.”

It is hard to talk about the film without giving anything away. Let’s just say there are certain things in horror movies that are generally off the, ahem, table and this film crosses that line in a big way.

The Coffee Table

The very ambiguous synopsis says:

“Jesus (David Pareja) and Maria (Estefanía de los Santos) are a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.”

But there is more to it than that, and the fact that this might be the darkest of all comedies is also a little unsettling. Although it is heavy on the dramatic side too, the core issue is very taboo and might leave certain people sick and disturbed.

What’s worse is that it is an excellent movie. The acting is phenomenal and the suspense, masterclass. Compounding that it’s a Spanish film with subtitles so you have to look at your screen; it’s just evil.

The good news is The Coffee Table isn’t really that gory. Yes, there is blood, but it’s used more as just a reference than a gratuitous opportunity. Still, the mere thought of what this family has to go through is unnerving and I can guess many people will turn it off within the first half-hour.

Director Caye Casas has made a great film that might go down in history as one of the most disturbing ever made. You have been warned.

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Trailer For Shudder’s Latest ‘The Demon Disorder’ Showcases SFX

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It’s always interesting when award-winning special effects artists become directors of horror films. That is the case with The Demon Disorder coming from Steven Boyle who has done work on The Matrix movies, The Hobbit trilogy, and King Kong (2005).

The Demon Disorder is the latest Shudder acquisition as it continues adding high-quality and interesting content to its catalog. The film is the directorial debut of Boyle and he says he is happy that it will become a part of the horror streamer’s library coming fall 2024.

“We are thrilled that The Demon Disorder has reached its final resting place with our friends at Shudder,” said Boyle.  “It’s a community and fanbase that we hold in the highest esteem and we couldn’t be happier to be on this journey with them!”

Shudder echoes Boyle’s thoughts about the film, emphasizing his skill.

“After years of a creating a range of elaborate visual experiences through his work as a special effects designer on iconic films, we’re thrilled to give Steven Boyle a platform for his feature length directorial debut with The Demon Disorder,” said Samuel Zimmerman, Head of Programming for Shudder.  “Full of impressive body horror that fans have come to expect from this master of effects, Boyle’s film is an engrossing story about breaking generational curses that viewers will find both unsettling and amusing.”

The movie is being described as an “Australian family drama” that centers on, “Graham, a man haunted by his past since the death of his father and the estrangement from his two brothers. Jake, the middle brother, contacts Graham claiming that something is horribly wrong: their youngest brother Phillip is possessed by their deceased father. Graham reluctantly agrees to go and see for himself. With the three brothers back together, they soon realize they are unprepared for the forces against them and learn that the sins of their past will not stay hidden. But how do you defeat a presence that knows you inside and out? An anger so powerful it refuses to stay dead?”

The movie stars, John Noble (The Lord of the Rings), Charles CottierChristian Willis, and Dirk Hunter.

Take a look at the trailer below and let us know what you think. The Demon Disorder will begin streaming on Shudder this fall.

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Editorial

Remembering Roger Corman the Independent B-Movie Impresario

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Producer and director Roger Corman has a movie for every generation going back about 70 years. That means horror fans aged 21 and older have probably seen one of his films. Mr. Corman passed away on May 9 at the age of 98.

“He was generous, open-hearted, and kind to all those who knew him. A devoted and selfless father, he was deeply loved by his daughters,” his family said on Instagram. “His films were revolutionary and iconoclastic, and captured the spirit of an age.”

The prolific filmmaker was born in Detroit Michigan in 1926. The art of making films swayed his interest in engineering. So, in the mid-1950s he turned his attention to the silver screen by co-producing the film Highway Dragnet in 1954.

A year later he would get behind the lens to direct Five Guns West. The plot of that film sounds like something Spielberg or Tarantino would make today but on a multi-million dollar budget: “During the Civil War, the Confederacy pardons five criminals and sends them into Comanche-territory to recover Union-seized Confederate gold and capture a Confederate turncoat.”

From there Corman made a few pulpy Westerns, but then his interest in monster movies emerged starting with The Beast With a Million Eyes (1955) and It Conquered the World (1956). In 1957 he directed nine movies that ranged from creature features (Attack of the Crab Monsters) to exploitative teenage dramas (Teenage Doll).

By the 60s his focus turned mainly to horror movies. Some of his most famous of that period were based on Edgar Allan Poe’s works, The Pit and the Pendulum (1961), The Raven (1961), and The Masque of the Red Death (1963).

During the 70s he did more producing than directing. He backed a wide array of films, everything from horror to what would be called grindhouse today. One of his most famous films from that decade was Death Race 2000 (1975) and Ron Howard’s first feature Eat My Dust (1976).

In the following decades, he offered many titles. If you rented a B-movie from your local video rental place, he likely produced it.

Even today, after his passing, IMDb reports that he has two upcoming movies in post: Little Shop of Halloween Horrors and Crime City. Like a true Hollywood legend, he is still working from the other side.

“His films were revolutionary and iconoclastic, and captured the spirit of an age,” his family said. “When asked how he would like to be remembered, he said, ‘I was a filmmaker, just that.'”

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