User reviews

A husband (Dean Winters) tries to piece together what happened to his wife after a car accident. His wife? Why it is none other than Kirsty (Ashley Lawrence) from the first two Hellraiser films. This is the sixth entry and it appears to want to right the ship after the fifth entry had like two minutes of Pinhead (Doug Bradley) shoved into it. Unfortunately, I already saw this film when it was called Jacob's Ladder (1990). Yes, if you can't figure out the plot where a guy keeps hallucinating and jumping back-and-forth between realities, you might need to turn in your horror fan card. It is also really hard to take serious nowadays with Winters in the lead due to his "Mr. Mayhem" ads for Allstate insurance. To the film's credit, it does return to themes prevalent in the first film like marriage infidelity and striking a deal with the devil. There is also more time devoted to Pinhead and it is a handsomely mounted production that shot in Canada. Director Rick Bota made his feature debut here after being a cinematographer and second unit director. He became the defacto helmsman on these for a bit as he handles the next two entries as well. I hear the sailing gets really rough with the next entry.

This entry in the ongoing "Hellraiser" franchise brings back protagonist Kirsty Cotton (Ashley Laurence) from the first three films. Here she's married to a man named Trevor (Dean Winters, "John Wick"), and as the film opens, they have a car accident after which he loses his memory, and she disappears. Unreality begins to invade his life regularly, with no relief from the horrific images. Gradually, the truth begins to emerge, with Trevor realizing that he was NOT a prince of a guy before the accident.

For a while, this all feels rather familiar and predictable, and is not helped by Winters' bland performance in the lead. But Laurence still has appeal, and some of the supporting actors are good. There is some effective doom & gloom atmosphere, some okay gore (but also some ropey CGI), and decent attempts at surrealism. Use of the renowned Pinhead (Doug Bradley) character is somewhat limited, although you appreciate his presence every time he shows up. His booming voice still issues grave pronunciations on the nature of the situation.

It isn't until near the end, however, as the mystery is revealed, that this does become at least reasonably interesting, and *we* realize that we were being taken on a ride where things weren't as they seemed.

The film is not laden with style, but it's adequately directed by Rick Bota (in his feature debut), whose background was in camera operation and cinematography. At the very least, the sexy supporting actresses (Sarah-Jane Redmond, Jody Thompson, Kaaren de Zilva) are fun to watch.

Filmed in the Vancouver area.

Six out of 10.

"Hellraiser: Hellseeker" is a Mystery - Horror movie and the seventh sequel of the "Hellraiser" franchise, in which we watch a businessman trying to remember and figure out what happened after a car crash that killed his wife. The only thing he has is a box that he does not know its purpose yet.

I did not like this sequel because I believe that it was not worthy of the name "Hellraiser". Except some minor clues, some objects like the puzzle box and some of the main characters of the franchise, "Hellraiser: Hellseeker" did not reach the potential of Hellraiser's name. I do not recommend anyone to watch this movie especially those who have already watched the previous "Hellraiser" movies.

Other reviewers (at least the ones I read) must have watched a different movie to me. What I saw was certainly an effort at originality, and yes, it was better than some of the other sequels to the franchise, but that said it was still a below par screenplay, borrowing heavily from other, cleverer, more original films.

Ironically Hellraiser:Hellseeker shares some of the same flawed plot concepts as the movie it borrows most heavily from: Jacob's Ladder. There's the same two tier story running consecutively and along different, mysterious time-lines, both of which fail utterly to fuse into a single coherent time-line at the end of the film. There's the same solipsist nightmare: how can one truly discern between reality and dreams when the dream state feels as 'real' as reality itself? The second movie from which Hellseeker shamelessly borrows is Angel Heart, a masterpiece of cinematic horror featuring Mickey Rourke before his face went to hell (as a result of high living, screwed up plastic surgery and boxing, not Pinhead) and Robert DeNiro. Where Angel Heart is innovative, Hellseeker is simply repetitive and boring. Where Mickey Rourke excels as the confused protagonist in Angel Heart, Dean Winters sleep-walks his way through the role in Hellseeker, and where DeNiro gets all the best lines, poor Pinhead gets some of the most forgettable I've ever heard him utter.

Granted, compared with the other Hellraiser sequels (all bar Hell on Earth, which I have to say I enjoyed more than I or II) this tries something different, and maybe with a better lead role there'd be something there worthy of a couple more stars. But ultimately the confused mess of a plot destroys itself, irrespective of Winters' deadpan portrayal.

I give this rubbish one star for effort and one for the inclusion of Ashley Laurence who, lets face it, should really be above all this by now. Another star for Doug Bradley as Pinhead who never fails to send chills down my spine with his black 8-ball eyes and his tendency to drag nine inch nails out of his own skull.

Ultimately though, Doug needs to share that last star with Clive Barker without whom the world would be a much duller place.

I'm a GIANT fan of the original story by Clive Barker and I think the first two Hellraisers were the greatest horror films ever to be produced. But, ever since Hellraiser 3, untalented directors wear out the name and use the villain-icon Pinhead as a marketing instrument to tell lame and inferior horror stories. Hellseeker ranks as the sixth episode in the series and it is - along with Inferno - the weakest effort so far. The original charm has faded away completely and the tone and atmosphere doesn't come near the morbid and raw originals. The story of Hellseeker has got nothing to do anymore with the original characters Clive Barker created and they might as well could have given this movie a completely new surrounding. Heroine Ashley Laurence is dragged into this film for no particular reason. She doesn't show any resemblance with her original character and even Pinhead himself has gone through a complete metamorphosis. He once was a true symbol of all that represents evil but, after 6 episodes, he merely looks like a lame philosopher who prefers to plea instead of to kill. Hellraiser:Hellseeker is an extremely boring experience with only a few remarkable scenes. And those particular scenes are in fact just a shadow of the ones in the original Hellraisers. It's nothing more than a mediocre attempt to build up a mystery tale. The first hour of this film is a series of hallucinations and illogical dream-sequences. Director Rick Bota constantly tries to fool the audience with plot-twists but, actually, the audience doesn't give a damn! The last 15 minutes of Hellseeker are the only ones worth seeing. Both Kirsty's and Pinhead's screen time are entirely in those minutes and it's the only time the script actually makes a bit sense. If you manage yourself to struggle through the first hour, you'll see a more or less satisfying ending. If the rumors are true, there will be two more sequels coming out in 2004 . Knowing myself a bit, I'll most likely see them...but my expectations have never before been so low!

Hellraiser: Hellseeker has come under fire from viewers, mostly for the economic manner in which iconic character Pinhead is used. The most refreshing thing about episode six here is that Pinhead goes back to what Clive Barker intended him to be. Sort of the equivalent of the zombies in Romero's Dead films, if you get the drift. For those who don't, the whole point is that what Pinhead does to the principal characters is not nearly as important as what the principal characters do to each other. He is the final hammer when the characters have finished dragging each other down, and that is the way of all the best horror films. The real problem with Hellseeker is its lack of atmosphere. In the original, Barker takes his time to introduce each element, in particular the modest British family whose lives appear as regular as our own. Barker understood that relating to the victims, and even the victimisers to some degree, is a lot more important to an audience than a string of gruesome deaths. Rick Bota tries to provide similar setup, but fails.

It has been a bit of a while since I saw Ashley Laurence in a film, and she is in fine form here. She could probably play this role in her sleep (at times, it almost seems like she is). One problem we have in Hellseeker is that some of the most important moments in her story are missing. In the original, when we saw her open the box, we grit our teeth in suspense as the very fabric of the reality around her dissolved, and her conversation with Pinhead ensued. In the original, these shots showing the cosmetic details of hell served a very important function. They created a sense of foreboding that gave the entire rest of the film foundation. Rick Bota, unfortunately, is not able to pace himself, nor does he have an instinct for when too much really is too much. Characters in Hellseeker behave in ways that telegraph to the audience that some kind of twist is in the offing, and while it is a good twist, it is just an example of the fact that up to a point, hell works best when it is subtle.

Doug Bradley is back for the sixth time as everyone's favourite nail-headed character. Contrary to what some have suggested, I do not believe he is so much cashing a paycheque in this film. I think he is just on autopilot because he can literally play this devious character in his sleep. The sayings, mannerisms, and motions are as natural to him as eating and sleeping are to us. Nobody knows whether it was his idea or Doug's to portray the Satan character as he were once a dapper English gent, but Doug carries it off so well that he deserves an award. As seen in the third, and particularly fourth, films, everything can be going to ruin around him, and yet he will still effortlessly play this mannered gent who just happens to torture people as a job. The other cenobites do not get nearly as much screen time as was previously the case, however, and that also lets the side down somewhat. The sights of Chatterer and whatever that woman called herself really helped sell Pinhead as much as Pinhead himself at times. The other cenobites in Hellseeker are truly token appearances.

They say your hero(ine) is only as good as your villain, and that is certainly the case here. Dean Winters is a great villain, partly because he portrays the character so well, but also because it takes a while for his status as the true villain of the piece to become apparent. One of Clive Barker's great touches in the original is that, to an extent, every victim deserves what happens to them. Most of the film is taken up with establishing why Winters' character deserves what he gets, which makes the final twist of the film especially satisfying. It reestablishes Pinhead as a just, if somewhat peculiar, referee of hell. Seriously, watch parts three, then four, then this one, and try to reconcile each one with the statement made in the second: it is not hands that call us, it is desire. The whole conceit of The Hellbound Heart was that bored lowlifes seeking what they thought of as the ultimate in pleasure sought this box, and opened it only to find that its inhabitants' definition of pleasure varied drastically from theirs.

Unfortunately, not every aspect of the film is well done. The special effects that closed the original Hellraiser were as fake as hell, but the audience bought them because by that time, the film had drawn the audience in. The problem in Hellseeker is that it takes its sweet time to hook the audience, and thus the head-split routine that looks like something I could have done with an old Amiga 500 goes down as one of the funniest effects in horror. It comes at exactly the wrong time, producing laughs when what we needed was to be immersed in the Hellraiser atmosphere a little deeper. Normally, a laugh can be a good thing, especially when it comes at a time when the script or story could use it, but if ever there were a bad time, this is it. With the exception of Laurence, Winters, and especially Bradley, the acting is also high school drama level at best. The loose women, the work colleagues, the doctors, the general passers-by in the street, they all act as blank and vacant as Paris Hilton trying to feign having something relevant to say.

When all is said and done, Hellseeker is a seven out of ten. It is not nearly in the league of the first two films, but it is a massive improvement over three and four. Give it a chance, stop expecting Pinhead On Elm Street, and you might be pleasantly surprised.

The beginning of the fifth Hellraiser sequel raises something of a moral dilemma, which is extremely rare for a horror movie. After the car crash, Trevor, our hero, escapes from the car after it sinks to the bottom of the river and he rushes to the surface to get air, then returns to attempt to save his wife. At that point, my immediate reaction was that he deserves any suffering that comes to him, since he left his wife on the bottom of the river to go and try to save himself. On the other hand, it probably wouldn't have done much good had he remained down there and lost consciousness right there with her. I guess that's why they tell you on the airlines to secure your own oxygen mask and THEN help your kid.

But while this early scene inspired in me an unusually complex combination of thoughts and emotions, it unfortunately is unable to escape from the destructive presence of reality on the possibility of it happening the way it did. I am willing to suspend disbelief on the premise that the guy was screaming at his wife underwater through the window, watching her drown right in front of his blurred eyes and therefore not necessarily able to think all that clearly, but on the other hand, riverbeds have an overwhelming tendency to be covered with big, round, hard, window-breaking rocks.

When the investigation begins, things start to get a little strange and we begin to realize that there is something weird about what happened in that crash. Evidently the car was found with the doors open, which puts some serious holes in the story about not being able to get the doors open to save his wife. It turns out that he has come back with a spotted memory, and that the crash that we saw at the beginning of the movie may not have been exactly how the event unfolded. Things seem to have happened that he doesn't remember.

I found it highly amusing that the detective that always gave him a hard time because he didn't believe his story was named Detective Gibbons, just because I recently took an Anthropology class in which I learned what a `gibbon' is. I would NOT have been able to keep my cool with this guy though, who was hugely overacting and throwing harsh accusations which were not necessarily unfounded but definitely a little too confident and, if accusations can be this, a little too accusatory.

The best thing about this installment in the Hellraiser series is that it works on a psychological level with the main character. Granted, this is nothing new in the horror genre, but it is done very well here. We never know when he is seeing reality, when he's dreaming, when he's having delusions, inaccurate flashbacks, and there is plenty of opportunity for lots of twists and turns, and thankfully these opportunities are not ignored. I hate it when movies do that (see Hollow Man). Because of this, we never expect things like the startlingly effecting scare in the vending machine, one of my favorite scares in the movie.

Pinhead has thankfully been given a much more prevalent role than he had in the rather disappointing Hellraiser Inferno, the least Hellraiser movie of all of them, and it's morbidly pleasing to see some of the familiar Cenobites return, like Chatterer. The movie closes with the old `leave him and take me' cliché, but as a whole it is a quality entry in the Hellraiser saga. It is well-written, well-thought out (almost unheard of for a horror movie these days), and entertaining, and most importantly, it is more than just another cash in on a successful series. There are a lot of horror series' that are well past their time to pass away, but as long as they keep putting this much thought and creativity into the Hellraiser films, I say there is infinite opportunity for sequels.

This is a pretty good sequel in this series (my favorites, in order: 1, 2, 6, 4, 5, 3). Bringing back the Kirsty Cotton character was the best thing for this series. Maybe I'm a sucker for female heroes. Let's face it, sequels seem better with more familiar faces; "Halloween" and Jamie Lee Curtis being prime examples (although I thought 'H20' and 'Resurrection' weren't very good, she definitely brought them up a few levels).

This franchise is so strange, it keeps continuity: the building in part 3 returns in part 4; part 4 occurs way in the future, making all other sequels after it flashbacks, but the series never screws the viewer over by trying to pretend the events of the previous films never happened (take that "Halloween", "Friday the 13th", and "A Nightmare on Elm Street"!). But "Hellraiser" does suffer from taking itself too seriously, making 3 & 4 almost laughable. 5 suffered from and unsympathetic character and 6 borders on that same edge. Kirsty ties this movie together so nicely because she brings the past back to the present, and we feel for her because we know her already.

Acting-wise, I think this is the best of the series, followed by the first two. Plot-wise it follows the first two--this is a sequel where you need not watch parts 3-5 before seeing it. The series' advantage over other horror franchises is that it's linear and non-linear at the same time. Watch the first two in order, and the others in any other order you choose--the continuity doesn't suffer. Or you can forget 3-5 and watch 1, 2, and 6 and have your own little Kirsty/Pinhead-trilogy.

But I won't completely sugar-coat this film. Kirsty's not in it much and Pinhead and the Lament Configuration are in it even less. The main character is quasi-unsympathetic, but based on the plot, you're really not supposed to know what to feel for him. I found myself confused a few times, but everything wrapped up at the end. The special-effects are on par with part 5--so it's pretty much the best in the series on that level too. I think the editing could have been a bit better, as it cut from some scenes too quickly or left the viewer lost for a minute or two before catching up, but overall it wasn't that bad and there were some very nice transitions. One or two things are never completely resolved, or are intentionally left to the viewer's imagination and I haven't figured them out yet.

My favorite thing about this film is it's length: it knows when to quit; it's not too long and not too short. If only the series would know when to quit. Coming soon: 'Hellraiser: Deader' and 'Hellraiser: Hellworld'…and possibly a 'VS.' film against another franchise villain-that truly will be 'hell on earth.' And not in a good way

Hellseeker is the sixth installment on the Hellraiser movie series and unfortunately is a mess. The movie is very confusing, until the very end, when finally the mistery is unveiled, which can be good, but if as a viewer, cannot catch up with the plot, this is in fact an issue. This is a lazy sequel, they simply decided to copy-paste the plot of the previous movie, by just changing a few details. The cast is way worse than any other movie of the saga. The main character is annoying and really, really dumb, his reactions are unbelievable: when he is in danger he should defend, or at least run away so he can survive, this guy instead is most of the time is completely still, even if the bad guy is catching him. The rest of the actors pretty much mediocre, they are enough skillful to keep the movie barely afloat, but that's it.

There are graphic scenes, but way less compared to previous movies, giving more space on the psychological fear. Hellraiser wanted to take a different direction, so forget about the gore scenes from the original trilogy, a real pity, because these movies used to be all about violence and blood, while this is a kid movie compared to the original trilogy. Special and practical effects are still very good, even if in some scenes may be a little bit cheesy. I have always praised Hellraiser saga because directors wanted always to create something different, and they've never been scared of experimenting new stuff, but this movie is very lazy, especially on terms of screenwriting.

They seemed to take the ideas to do something a little different from the previous Hellraiser movie and dull it down to make it difficult for anyone to enjoy. The movie is brooding but also boring. The story is really stupid and made little sense to my brain. There are no visions of hell, just confusing flashbacks to a forgotten past. This outing is best not watched. The first two are the best ones. It just wasn't visceral enough. This is becoming tiresome.

This movie, like Hellraiser 5, feels like it wasn't originally written as a Hellraiser movie. I can imagine the following "How about this. You rewrite this script to add in Pinhead, and we'll call it Hellraiser 6.

Those Hellraiser fans will eat up anything".

This movie would be fine as a "Soul Survivors" type movie. But when it's a Hellraiser movie, you expect a lot more.

I say if they're not going to make real Hellraiser movies, don't bother.

Come on guys! 4.5 out of 10? This sequel in the Hellraiser series is clearly a very good horror movie. Moreover, it is the best sequel in the Hellraiser series since the second movie - which was also an awesome sequel. Obviously the director and scriptwriter has a lot of respect for the series and it's all like a great "book of blood" story by Clive Barker. I thought the lead role isn't played very well and it's not quite as good as a book of blood story of course. However, this movie in the series clearly have respect for the concept. I think internal references between the movies would be a good idea - unfortunately the director has left this out and only included it on the alternate scenes of the DVD. Anyway, the series should be connected and not just viewed as a single movie. This movie is really good for fans of the genre, and we can only hope that sequels in the future will be just as good or better. 7/10.

Hellraiser: Hellseeker. In directing Hellseeker, the sixth film in the series, Rick Bota returns to Barker's original for inspiration; something that is evident throughout this surreal and brilliantly twisted piece.

Much has been made about Ashley Lawrence's return as Kirsty Cotton and some may be disappointed in the small amount of screen time she actually has; however by the films end you can fully appreciate her importance and the final twist should rectify any misgivings you may have had.

As with the first two and Inferno this is a movie about ideas and not gore or monsters. The shocks and 'gory' moments that do occur have a reason behind them; often one that has a moment of clarity towards the end (for instance the scene with the eel). Also, the images of blood are portrayed in such a way as to show a beauty in the contrasting reds and its illumination; all things that help connect this to Barker's original.

A great deal of love was put into its direction and cinematography; Pinhead once again appears amongst blue, slat lighting and a room decorated with chains. However, this isn't simply a rehash or indeed a vague attempt to emulate the past; the story looks forward and develops Kirsty's character and her relationship with the Cenobites. This is a women whose been held on to by her father, lusted after by her uncle and manipulated by her step-mother; this may be in the past but it all plays into her actions within this film. Kirsty Cotton aside, the real star is Dean Winters who plays her husband Trevor. At first appearing loving and devoted his true colours soon start to show as he undergoes horrific dreams and startling visions; however this isn't the same path Joseph took in Inferno. Whilst the detective knew of his 'infidelities', Trevor's amnesia allows us to learn his real personality as he does himself thus giving us much more sympathy for him, especially in the end where he fully understands who he is. Whilst still not quite up to the heights of the original two films it does maintain the advancing high standards set by Inferno. Once again the human characters are the story and the Cenobites are there simply as a means to an end. Surreal, dark and manipulative, this film is a superior piece of modern day horror. 8 / 10.

Check it out, good for even non die hard Hellraiser fans!! Lots of twists and turns and some seriously intense moments! Far from Uncle Frank or Dr. Channard but like I said still worth the time.

I signed on with google just to review this movie.. stay away from it !Why ? I'll cut some slack and make this short. 1. Doesn't have anything to do with the other movies, other than Kirsty being in it. 2. 30 minute mark, and pinhead makes a 4 second appearance. 3. 50 minute mark, the box is briefly shown. 4. Every 2 seconds, the main character either a)gets a headache or b)has a hallucination that's not interesting in any shape or form. 5. Movie consists of main character having a dream .. within a dream, within another dream. 6. The whole movie was a dream. Don't waste your time. If you love Hellraiser, and pinhead, and Kirsty and people torn apart by chains, while having a coherent plot, watch the first 2 movies. Avoid the rest of them.

It's a mangle of nightmares, memories, unreal, and reality. Trevor Gooden is trying to piece together his memory after a car accident kills his wife Kirsty (Ashley Laurence). She's considered missing as her body is lost in the river.

When it's all surreal and there is no logic, it becomes ineffectual to make any sense out of the situation. It doesn't matter what happens. When that is the truth, the movie creates no tension. It takes forever to get to the box and the skin-ripping in the third act. That part is interesting but it requires familiarity with Kirsty Cotten from the first two movies. The return of Ashley Laurence does not automatically make it so. She's no Jamie Lee Curtis. The movie needs to spell it out for the audience. It would be nice to have scenes from those two movies to play up the connection. Why not make her the lead? The overall idea is inventive but this falls short.