One of the most exciting things about a new Spider-Man franchise is the possibility of seeing some of the web slinger’s iconic villains. Spider-Man: Homecomingwill introduce Spidey’s first big super-villain with Michael Keaton’s Vulture, but Tom Holland already has his eyes set on the future.
While talking to Screen Rant, Holland briefly discussed which villains he’d like to see in future sequels, and while his answers aren’t extremely surprising they’re probably the characters fans would most like to see appear as well.
“Oh, well I love Doc Ock. I think Spider-Man 2 is one of the greatest superhero movies ever made. But I think Venom is someone I’d love to kick the crap out of one day.”
It’s not a total surprise that Tom Holland wants Spidey to fight Doctor Octopus and Venom. These are arguably two of the hero’s most beloved rivals and some of the greatest super-villains in comic book history. Things might be complicated when it comes to seeing Venom in future movies as the character is currently scheduled to appear in a solo movie, unconnected from Holland’s web slinger. It is a lot more likely that Doctor Octopus will appear in a sequel, depending on how happy Marvel is to use villains that have already appeared in previous Spider-Man movies.
Do you want Spidey to fight Venom and Doctor Octopus in future Spider-Man sequels? Be sure to let us know in the comments section below! Spider-Man: Homecoming lands in theaters on July 7, 2017!
Ready or not, the long-gestating sequel to 2009’s Avatar is set to begin filming this fall.
Talking to the The Hollywood Reporter, Sigourney Weaver revealed that Avatar 2 would soon start production. “We’re starting!” she said excitedly. “We’re starting training, and we’re starting — hm, I probably can’t say anything. We will be actually shooting it by the fall.”
In addition to Weaver, Zoe Saldana and Sam Worthington have signed on to revisit Pandora.
The first film grossed $2.7 billion at the global box office.
James Cameron has four additional films planned for the franchise. He is developing them simultaneously.
All four scripts have been completed, Cameron said. However, last month he revealed that the second film would not be ready for a 2018 release.
Currently there is no release date for Avatar 2.
In the meantime, Disney is set to open an Avatar-themed land at its Animal Kingdom park in Orlando.
It’s “a time for heroes,” as the trailer for the new series of Doctor Who suggests. It’s also a time of major change for the long-running British series. We know that The Doctor, who Peter Capaldi has expertly played since 2014, as well as showrunner Steven Moffat, are both leaving the show after this year’s Christmas special.
First off, a new trailer has been released today, featuring the titular hero, his new companion Bill (played by Pearl Mackie), Nardole (played by Matt Lucas, who has been in the last two Christmas specials), and the devious Missy (played by Melissa Gomez). It also features some monsters of old and new that the heroes will face off against. Here is the trailer:
Did you catch that moment at the very end? Here’s a still frame:
Capaldi’s Doctor is gripping a wall in pain, clutching his chest, his hand glowing that all-too-familiar golden regeneration energy.
Could this be the 12th Doctor’s last stand? That would be a bit surprising. Capaldi announced back in January that his final episode would be the Christmas special, leading viewers to assume that’s when the long-anticipated new Doctor would make his (or her?) first appearance. However, that doesn’t necessarily mean the 12th Doctor won’t regenerate earlier than expected.
Is this brief orange glow a false alarm? It wouldn’t be the first time Who “faked” a regeneration. Back in the Series 4 episodes, “The Stolen Earth” and “Journey’s End,” the 10th Doctor (David Tennant) was about to regenerate, when he siphoned off the energy that would have changed his appearance and personality into his severed hand (you had to be there).
Be it in the coming weeks, or in December, we know for a fact that Capaldi is bowing out as the beloved Time Lord.
Other Who news broke over the weekend, as it was announced that The Doctor’s new companion, Bill Potts, is the show’s first openly gay main character, and will have her sexuality revealed in her first scene in the new series.
Her time on the show may be short-lived, however. If rumors are true, this will be Bill’s one and only series on the show. This is reportedly due to the new showrunner, Chris Chibnall, aiming for a clean slate when his era begins with Series 11.
Peter Capaldi and Steven Moffat’s final series of Doctor Who begins April 15.
Are you sad to see Capaldi exit the TARDIS? Who would you like to see as the new Doctor? Let us know in the comments.
That’s the end of my childhood, was the phrase uttered most in the wee hours of the morning as late Sunday April 2nd became early Monday April 3rd. As #ThankYouTaker and #GoodbyeTaker started to trend on twitter at the sight of the Phenom’s signature coat gloves and hat laying abandoned in the middle of the ring. The match itself did what is rare in wrestling rings these days, unless of course the opponent is the legendary Undertaker. It told a story. The aging veteran and the young upstart was the overarching theme for WrestleMania 33. Never was it as stark as it was in those final moments of the match.
The Match
Usually stronger, more dominant and resilient, The Undertaker finally felt his own mortality at the hands of Roman Reigns. People’s thoughts on Reigns aside he did the job last night with grace, courage and heart. He relented when he should’ve relented and pressed hard when the match called for it. This was the ending The Undertaker had been looking for. The one that seemingly only this performer could provide.
The Man
Many fans must’ve been thinking back to the last WrestleMania in Orlando and Ric Flair asking Shawn Michaels to perform the coup de grace on his career. The same weight that shadowed Michaels’ face rode high in Reigns. We all knew what we were about to see. Yet thinking back to WrestleMania 24 I recall a question that occurred to me there that has never left. Especially when I think of matches involving the Undertaker. After his main event win versus Edge the question was, “How do they do that?” When it happened again at Backlash later that year I repeated the question and haven’t been able to answer it.
The ‘that’ being how do they with movement, timing and build wrap people into a space and mental compliancy that makes them forget that this is staged. How do they get you lost in the moment? I determined years ago that the phrase ‘suspension of disbelief’ was created before The Undertaker graced a ring. Because when he is on with a partner willing to travel with him no one has to remind the viewer to pretend it’s real. In those moments in the breadth and scope it is real. The beauty of wrestling is that when done right it’s like a spell built to captivate and to mystify. In my years of watching I have never seen a spellcaster the quality of The Undertaker. The fantasy is made real.
The Myth
It was real both times The Undertaker and Shawn Michaels showed us what showmanship artistry and storytelling was in their legendary matches at WrestleMania 25 and WrestleMania 26. Heart nearly exploding I yelled I screamed I lost my breath and needed time to recover. It was real when the American Bad Ass rode around the ring then got into it to show Triple H what bad ass really meant at WrestleMania 17. Real when he tossed countless competitors into coffins, buried them and Tombstoned them nearly through the mat. It was real every time the lights dropped the bell tolled and the door to that Hell in a Cell cage shut forcefully behind him. Hell was on earth and caged against Mankind, Batista, Stone Cold Steve Austin, Randy Orton, CM Punk.
The championships, the transformations, the highlights, the moments. The Elimination Chambers, the Royal Rumbles, the Survivor Series, the WrestleManias, the Streak. The magic of the Phenom. Whether led by the late Paul Bearer, by flame bearing druids or by no one at all. The montage of his ring personas feel like the evolution of a fully realized life.
The Legend
The first Undertaker sighting is a heralding mark among wrestling fans. It’s like an honored war story when someone tells you about a Taker sighting not in his wrestling boots as much as in them. Fans swap stories about the first Undertaker entrance they experienced. So enrapt has one man kept several generations of people that his legend cannot be undone.
When Ric Flair had his final match it burned and shined. Florid with all the pomp and circumstance that outfitted his career. Shawn went down in the fight which was always his bread and butter. The Undertaker, always marching to his own beat did things as usual a little differently. He left us in a wash of black and purple lightning striking, streaking the sky in a haze of fog and smoke moving as always like a barely realized dream built from fire and ash. He left as he came. A dash of the mystical too real to be denied, too unreal to be anything but magic. What he has attained is true immortality.
The Phenom
So now it’s my turn. When I first saw The Undertaker live it was at WrestleMania 17 and he was firmly in his American Bad Ass phase. My first true Undertaker entrance happened years later. The lights dropped. The audience sat in silence. Then being compelled the rally begins. Feet start stomping in a familiar cadence rattling around me. The vibrations building as others join. The chanting starts soon after. Un-der-ta-ker; Stomp stomp, stomp stomp stomp. The bell tolls. The chanting increases.
The spotlight goes up as the fog starts to roll high at the entrance ramp. The first thing seen is the outline of his hat. The fog parts and he steps through as if materializing out of nothing. I catch my breath and feel this chill across my spine. I stop chanting stop moving as the world vibrates around me. He makes his way to the ring in that slow methodical gait that stuns as it moves. With ears ringing from the chanting, I knew this was all so very real.
Tell us about your favorite Undertaker moments, matches and sightings below in the comments.
Earlier today, Batman writer Tom King blasted Twitter with a major upcoming story. Following the ongoing I Am Bane story arc, King announced a epic clash between two classic Gotham villains. The Joker and Riddler will faceoff in War of Jokes and Riddles.
Along with these little bits of story setup, we were treated to a ton of art. King says the series will begin with Batman #25 and last for eight issues. Artist Mikel Janin will take the title back over from David Finch.
This story will be the first to involve Joker since Rebirth began. In DC Rebirth #1 Batman revealed that, upon asking the Mobius Chair for his identity, there are actually three Jokers. Will this story finally touch upon that revelation?
Tom King tweeted “Joker is tired of riddles, Riddler is tired of jokes.”
The Joker appears to be returning to a more classic look. After becoming a horror movie villain throughout Snyder/Capullo’s brilliant New 52 run, this more traditional approach could be a lot of fun. Of course, this Joker and the horror Joker could be entirely different people.
Batman fans have a lot to look forward to this year. Along with War of Jokes and Riddles, Dark Knights:METAL was also just announced.
Are you excited for the upcoming Batman books? Which current Bat-Book is your favorite? Let us know in the comments below!
It seems like every review of The Walking Dead this season has started the same way. Each episode seemed to tease at a conflict, promising that one day, the group would get justice. Instead, “The First Day Of The Rest Of Your Lives” gave us nothing. Don’t confuse the fight sequence with any sort of real resolution. The Walking Dead used its season finale to cover ground that should’ve been tread half a season ago.
Very little character evolution came from this episode. No deaths or changes came that made it feel like a book-ended season. Once Sasha died, it became clear that was the only death we could expect. Maggie taking over the Hilltop did not feel triumphant, but more born out of the convenience of Gregory’s departure. There was NO WAY Michonne or Carl were gonna die – not with that cliffhanger & build-up. The one thing that Glenn/Abraham’s death had was the surprise factor (to a certain degree). The tiger hopping on a nameless henchman should’ve been a death for Simon or Dwight, not a nameless Savior.
Bringing together three of the colonies didn’t provide a lot of exciting resolution. This union has been teased for months, so it feels more overdue than triumphant. It’s great that they combined forces to chase away the Saviors, but that’s it. The Quiet People (is that their name?) turning on them was exciting, but did not actually change the course of the episode. The fact that no Oceansiders joined the fray proved how insignificant Tara’s solo plotline was.
The death of Sasha was an interesting change, but poorly executed. The timeline shifts were more confusing than exciting, just because the added insight wasn’t that interesting. Additionally, the jumps into her dream conversation with Abraham were awfully forced. The reveal was definitely enthralling, and kicked off the battle in an unexpected way. However, Sasha’s death did not provide enough excitement for the finale. If anything, The Walking Dead only proved people can still become zombies
Negan gave The Walking Dead an opportunity to rest on its laurels. He was a great antagonist for the series, but wasn’t enough to carry the plot. All Negan did was give the main characters something to be afraid of. They didn’t fight him until the very end, so he accomplished little as a villain. He said some scary things, but mostly he stuck to killing his OWN HENCHMEN. Negan was a frightening presence, but he was also an inactive force since the premiere.
Likewise, Dwight’s betrayal of the Saviors didn’t provide much action. The twist was only initiated because Dwight’s wife left him, and that was a while ago. Despite numerous chances to put a bullet in Negan’s head, Dwight’s only action was to write a message on a figurine. Heck, Eugene was probably more dangerous to Negan, simply because he has a longer history of being good. Not enough changed for either character to feel like lasting, impactful change.
The voiceover at the end is unbelievably cheesy – as has all the voiceovers been this season. It doesn’t trick viewers into thinking any actual resolution came out of the finale. Yes, they had a victory – but now, it’s “WAR.” So what was the point of this season? That there had to be a war? That was evident since the premiere. This season has just been the repetition of Negan being bad, and the gang realizing they have to fight back. It’s pointless, and reaffirms how little has happened this season.
It’s too reminiscent of the Season 3 finale – NO VILLAINS DIED. “Villains” isn’t referring to the nameless Saviors who got shot in this context, but the actual antagonists we’ve seen this season. Negan had already been confirmed for Season 8, so the fact he lived wasn’t surprising. But they couldn’t even kill Simon or Dwight? The Governor surviving until halfway through Season 4 was aggravating for many fans, as there was a lack of resolution for too long. Now, Season 7 has set up the same failed conflict. It definitely doesn’t feel like a season-ending victory. It feels like a battle we should have gotten months ago.
At the end of the day, The Walking Dead didn’t have anywhere to go, and thought they could fool viewers. The only thing about this season that was exciting was Negan, but Negan can only do so much. This season had very little substantive action or character development. It wasn’t a terrible season, but it was an action-less season. There’s next to nothing to connect with, and perhaps the show will be better put together next year. But Season 7 ended with the closest thing it could to a bang. The season, as a whole, was nothing but a whimper.
(Also, does anyone care that Heath is gone? Because no one seems concerned that he’s gone. He didn’t do much, but the fact no one cares has gotta be a bummer for that actor).
In 1939, the second world war, and the largest war this world has ever seen broke out across Europe. The Allied powers of the United States and the United Kingdom, along with Russia, faced off against Japan and the massive German war machine. Millions died, and global powers forever altered. You could say it was the real-life equivalent of the Battle for Middle-Earth. In the Netflix documentary, Five Came Back, the lens looking at this time in history is turned on five Hollywood directors who became entwined with the war effort — for better and worse.
“If you make a film that has something to say. Entertaining, of course, is the main purpose of it. But if film can contribute something to the social conscious of your time, then it becomes a source of great satisfaction.” – William Wyler
The United States didn’t enter the war until 1941 when Japan bombed Pearl Harbor. The public was not interested in another conflict. Everyone was happily distracted by a rising new art form — the cinema. Frank Capra, William Wyler, John Huston, John Ford, and George Stevens were the first wave of great Hollywood directors. During the 30s, these five filmmakers were only just beginning their journey towards creating classics.
Five Came Back takes a look at a time in history when movies were forged by war. Each director used their skills as storytellers on presenting the war to the public. Their paths along the way were wildly different, their motivations swayed by a duty to their country and their integrity. Producers often forced their hand, steering them into propaganda because it’s what sold tickets.
Each director’s journey chronicled by a contemporary equivalent playing narrator. The pairings, like Del Toro speaking about Frank Capra, don’t seem logical at first. The choices aren’t aimed at matching filmographies but matching cinematic philosophies. Capra’s work, like It’s a Wonderful Life, often looks at humanity through a fantastical lens. Del Toro does the same only combining it with a love of monsters.
Other pairings include Steven Spielberg speaking about William Wyler, the three-time Oscar winner behind classics such as Mrs. Miniver (1942) and The Best Years Of Our Lives (1946). Francis Ford Coppola takes care of John Huston’s story. Paul Greengrass handles John Ford and Lawrence Kasdan intones about George Stevens. President Trump’s absolute favorite actress, Meryl Streep, narrates large sections of the doc.
Five Came back on Netflix is a powerful reminder: “Not everybody trusts paintings but people believe photographs.” – Ansel Adams
Five Came Back is based on a book by Mark Harris. As a documentary series with three parts, the in-depth research of Harris’ book comes alive with clips of the films created by Capra, Huston, and the rest. The Netflix doc features some awe-inspiring, and often familiar, footage created by these filmmakers. While the book creates a vivid picture of the time and place, the actual footage only elevates the source material.
The combination of the book’s research, audio, and video makes Five Came Back something special to watch. Listening to Capra explain his logic en route to creating Why We Fight: Prelude to War is captivating. Capra’s re-thinking of propaganda, through the eyes of the underdog, changed the way people in the U.S. looked at Germany — the Goliath antagonist.
Five Came Back is a fantastic Netflix documentary series. The film benefits from being about (legendary) filmmakers, offering incredible visuals like few other docs. For fans of film history or classic movies, it’s a journey into a little-known story about some of the greatest directors in Hollywood history; patriots, propagandists, and artists.
The dream team of Batman stories will be getting the band back together and they plan to rock. Writer Scott Snyder and artist Greg Capullo will be reuniting for a new story line entitled Dark Nights: METAL. The event will have repercussions touching many titles in the current DC Universe and seems to be the first major event since Rebirth.
Snyder and Capullo garnished phenomenal praise from their multiple Batman stories including Court of Owls and Death of The Family. The initial press release has limited details about what will happen in the new event, but insists the story will push characters far beyond what they have experienced. This is the same vein as how the recent issues since Rebirth have been attempting to challenge the heroes in what they face. In many cases, the company has been extremely successful in their new direction.
Aiding the pair in this endeavor is Jim Lee and Dan Didio. Considering everyone working on it and Snyder insisting it was the saga he always wanted to tell, fans have a lot to look forward to this summer. The first issue will be released August 2017.
What do you think about Snyder and Capullo reuniting for a new event? Leave a comment below and let us know.
The Justice League has always been some of the best the DC Extended Universe has to offer in all media formats. This is due to the potential stories that can be told. As DC has produced, I have endeavored to ingest as much as I can from movies to television, comics to video games. This leads to the concept that the DC universe as it exists in all its forms is a mess. That’s ok though, it’s a fixable mess.
In Theaters Near You
So in the movies, with Man of Steel, Batman v Superman, and Suicide Squad we are at Injustice Gods Among Us DEFCON five, with a side car of The Death of Superman stage. It surges with hints of The Dark Knight and more modern origin tales for our crew leads to a spliced together amalgamation that is rather slick when viewed purely yet fully informed in Batman v Superman. This is where I plug my coming line of “I stand with EJ!” shirts.
On the Boom Tube
On television with the DC series quad of The Flash, Arrow, Legends of Tomorrow, and Supergirl on the CW we are still suffering the consequences of Flashpoint. With the next in line of video game offerings we are well into the evil a scorned Superman can wreak with Injustice 2. All that’s missing is the full zombie out of Blackest Night. As the world awaits the next release for the Injustice line slated for mid-May of this year, the Justice League movie hype is just beginning to truly percolate. All the while Wonder Woman teases us with the potential of what could be waiting.
Within the toil of what will become of the DC Extended Universe after this very crucial year of media fresh from the fallout of last year, I think back to how Marvel handled a very pivotal story arc. What could’ve been a disaster as the fallout of Captain America’s The Winter Soldier hit the MCU instead became legend for how to build stories to flow together like chapters of a novel. Somehow they executed such a collaboration of movies and television that they melded into lore brilliance. Selfishly I want the same for the DCEU.
Practical Mechanics
So some quick fixes that can begin to bridge these stories are simple. Every week for months DC is missing its opportunities to refine the television canon to fill in story gaps left by movies. This was demonstrated almost effortlessly in Agents of Shield and Agent Carter when the big reveal of all that was Hydra was unveiled. The fascinating aspect about this is not in the event or even the timing. It is in the experience of creating a unifying world changing event. Create a starting point for DCEU fans to shoot from.
CW Strong
The CW has already demonstrated that they can get on board. With the creation of Flashpoint, the episodes involved created a new jump off point that enabled changes to character narratives without much explanation. Then came the Earth hopping in the 4 episode crossover event, “Heroes vs. Aliens”, back in December where they tested the potential cohesion for a comprehensive enticing symmetry. A symmetry that paid off in red hot ratings.
Video Games
Not to be ignored is none television or movie based content. This includes the use of video game storylines. There is not much in the world more engaging than playing your comic book. Specifically playing the story. Not just playing the characters but treating a simple fighting game as an interactive DC animated movie. This would give DC a decided edge on their Marvel counterparts.
The truly fascinating aspect of Zack Snyder’s Batman V Superman was the melding. Within that film is an entertainment Rosetta. For someone like myself that has consumed too much of all of it, it was like watching the acid trip that lives in my mind in Picasso’s dark period. The end result is an experience that is much more fulfilling than all of what came separately. Injustice 2 ideally would supply some more movie plot points for the coming Justice League movies. Teach the fan base to prepare for DC movies by playing the games much like Marvel fans are conditioned to wait beyond credits for that final teaser scene.
The Multiverse Cometh
Lastly respect the universe build. Enjoy the chaos inherit in multiverses and infinite crises. There is no comic universe better prepared to bring itself together under one unifying event like DC. There is no team in the history of comics as ready to explode with creative manna like the Justice League. Oh, the mentioning of Crisis on Infinite Earths is just a coincidence. Cough, Trinity. Here’s to hoping DC can bring us all home.
What aspects of the DC extended universe would you alter or change?
Clive Barker has announced that he will be releasing a new Hellraiser Anthology comic series. According to Barker the book will feature 11 short stories each adding to the mythos of Hellraiser. With this in mind it felt like it was time to revisit and recap the iconic movie series. Spanning 30 years and encompassing books, comics and a diverse and problematic movie series Hellraiser is a horror like no other.
Hellraiser – 1987
Beware – Spoilers and Sarcasm Below
Based on the novella “The Hellbound Heart” by Clive Barker this is where it all began. The ongoing and divisive series now tallies eight sequels. Released in 1987, Hellraiser tells the tale of Frank and Julia’s love affair. Which happens to involve skinning people alive, leather clad demons and some of the best 80’s hair ever caught on film.
“What’s your pleasure, sir?”
The movie opens in a shady chinese shop and the audience is introduced to the main antagonist Frank (Sean Chapman). After a short amount of dialogue he’s passed a box and promised delights beyond imagining. Cut to Frank, surrounded by candles and playing with his box. He does something right as the puzzle begins to move on its own before chains come flying out of the darkness, attach themselves to Frank and drag him to hell.
“It’s Better Than Brooklyn”
Cut back to “America” (the movie was shot in London, which is apparent upon watching, but the studio New World felt that it would be more marketable if it was set in America. They just avoid mentioning which state.) We are introduced to Larry (Andrew Robinson) and his constantly unimpressed looking wife Julia (Clare Higgins). They walk around a dusty home while Larry talks about his disgusting brother Frank. Who used to live here but is currently missing. It’s established quite quickly that Larry doesn’t like Frank. Frank Likes money and sex. Julia likes Frank. There’s also mention of Larry’s daughter Kirsty (Ashley Laurence). Kirsty doesn’t like Julia. Julia seems to not be overly concerned about Kirsty.
“Come To Daddy”
Upon moving into the house the audience is simultaneously treated to the worst home delivery team and a very strange sex flashback. It’s established that Julia and Frank did the nasty in the past. Larry cut’s his hand on the most obvious nail in the world and bleeds all over Julia’s new attic floor. She’s not impressed. This blood however brings Frank back from where-ever he’s been hiding.
“Come here, damn you, I want to touch you.”
Enlisting Julia’s help Frank begins the process of building himself back up from gore covered crawling thing to gore covered standing thing. This process involves Julia luring men to her attic (not a euphemism) where she proceeds to kill them and feed them to Frank. Each kill makes him stronger and provides him with more strength.
“I’m a bit worried about her”
Frank begins to grow greedy and concerned about his lack of skin. Julia seems to have second doubts about all the murder she’s been committing. While Larry (who is still oblivious to the fact that his skinless brother is living, rent free, in the attic) confides in Kirsty that he’s concerned about Julia’s behavior. In an effort to get to like her stepmother, she offers to go round and see if there’s anything she can help with.
“It’s Just A Box”
However upon arriving at Casa Del Murder, she witness’s Julia luring a strange man into the house. She instantly decides that her stepmother is having an affair and goes in to catch her in the act. Working her way upstairs to the attic, she is instead confronted by a bloated half eaten corpse. Julia looks shocked and appalled at what is going on and Uncle Frank is just happy to have his family back. Kirsty delivers a master class in screaming and hysteria before grabbing a strange box and fleeing the house.
“You Opened It. We Came”
At what can only be described as the rudest hospital in all of America/England, Kirsty wakes to find herself weak and disoriented but still in possession of the box. As curiosity gets the better of her she works to figure out the puzzle. When she succeeds, a passage opens in the hospital wall. Naturally the plucky heroine goes down the dark, creep corridor and is confronted by a monstrosity that chases her back to her hospital room. The lighting changes, smoke billows from the walls and the audience is finally introduced to the cenobites. This is the first full appearance of Priest, Priestess, Chatterbox and Butterball.
“Demons To Some. Angels To Others”
After explaining that she had made a mistake and that she doesn’t want to go to hell Kirsty strikes a deal with the demons. She will return Uncle Frank to them in exchange for her soul and safety. Reluctantly they agree after threatening Kirsty’s soul if she fails to deliver. Wasting no time she returns home to find her father and Julia. Hysterical that her step-mother has been in cahoots with her skinless uncle Frank, Kirsty begs her father to leave the house. He calmly informs her that he knows Julia’s been murdering people in the attic and feeding Frank. He seems strangely calm about the situation and has dealt with the problem by killing the monster in the attic. Demanding to see for herself, Kirsty goes upstairs to find a steaming, skinless body lying on the floor.
“We Had To Hear It From Your Own Lips”
The cenobites appear and demand the man who committed this atrocity. Kirsty screams more and tries to explain that her father was only doing what he thought was the right thing before slowing coming to realize that man wearing her fathers skin isn’t in fact her father. Despite his repeatedly telling her to “Come to daddy.”
“Jesus Wept”
A fight breaks out in the small house, Kirsty scratched the skin off Franks face. He retaliate’s and stabs Julia then drains her life force. Kirsty leads him to the attic of doom where the cenobites await. After confessing to his sin’s Frank is attacked by hooked chains, curses and is promptly pulled to pieces. Shocking nobody the cenobites turn their attention to Kirsty and decide that she should join them in hell.
“We’ll Tear Your Soul Apart!”
Screaming she manages to work her way through the house to find Julia’s corpse chained the bed holding the puzzle box. After quickly figuring out how to use the mystical device Kirsty proceeds to zap the four horrors back to where they came from. With her boyfriend’s sudden appearance the two flee the house to safety.
The End?
Having had enough of the box and the trauma its brought with it, Kirsty throw it into a burning pyre. Out of nowhere a homeless man appears. He takes the box from the flames, turns into a winged monster and flies off with it. Kirsty looks shaken. Her boyfriend looks confused. We return to the same chinese vendor from the opening of the movie as he manages to sell the box to a new unsuspecting victim.
Overall Verdict
Although it was made in the late 80’s the original has managed to stand the test of time. While special effects have moved on, there is something classic about the gore present in the movie. The make up effects on the cenobites and skinless Frank are still as effective an uncomfortable now as they were at the time. This movie is responsible for the birth of one of most icon villains of all time – Pinhead. The visuals and tone of the movie are claustrophobic and tense. A theme common for the Hellraiser Series. The acting comes across a touch wooden and outdated but the audience can still connect with the characters.
Barkers directorial debut manages to convey horror and builds tension well through the movie. The characters are interesting and it’s always refreshing to have a strong female hero. Kirsty manages to survive the four cenobite assault, her skinless uncle and a wicked step mother with a penchant for attacking strange men with a hammer. She will go on to feature heavily in comics whilst being absent from a number of sequels.
Score
With this being the first movie in the series and important for setting the tone and introducing the characters Hellraiser is awarded 5 out 5 Pinheads.
Important Mythos to the Series The Puzzle Box – this is a constant feature through every aspect of the Hellrasier franchise. It appears to be the only way to summon/banish the cenobites.
The Cenobites – although they take multiple forms, The Priest (he’s not yet named Pinhead) and Priestess are key characters to the universe. Other cenobites join their ranks through the multitude of sequels, but never manage to take the top spot.
Hell – Kirsty’s brief journey down the corridor of doom is a brief glimpse at a world outside our own. Something that is explored in later movies.
Kirsty Cotton – a key figure in the legacy of Hellraiser. She will go on to appear in future films and be a large figure in the Boom Comics Series.
