![]() The Pursuit of Possibilities – brand new 60-minute discussion between acclaimed horror authors Paula D. Unboxing Hellraiser – brand new visual essay celebrating the Lament Configuration by genre author Alexandra Benedict (The Beauty of Murder) Power of Imagination – brand new 60-minute discussion about Hellraiser and the work of Clive Barker by film scholars Sorcha Ní Fhlainn (editor of Clive Barker: Dark Imaginer) and Karmel Kniprath Limited edition layered packaging featuring brand new Pinhead artworkīrand new audio commentary featuring genre historian (and unit publicist of Hellraiser) Stephen Jones with author and film critic Kim NewmanĪrchival audio commentary with writer/director Clive Barker and actor Ashley Laurence, moderated by Peter AtkinsĪrchival audio commentary with writer/director Clive Barker ![]() Optional English subtitles for the deaf and hard of hearingĪges of Desire, an exclusive 200-page hardback book with new writing from Clive Barker archivists Phil and Sarah Stokes Original lossless stereo and DTS-HD MA 5.1 surround audio for all four films Ultra High Definition (2160p) presentations of all four films in Dolby Vision (HDR10 compatible) Hell has never looked better!īrand new 4K restorations of all four films from the original camera negatives by Arrow Films Paul Merchant, a 22nd-century engineer and designer of The Minos, a space station which is a great deal more than it seems.Įxperience the sublime agony of this quartet of torment like you never have before in all-new 4K restorations from the original camera negatives. Then, Hellraiser: Bloodline sinks its hooks into past, present and future with the story of Phillip LeMarchand, the 18th-century toymaker who made the lament configuration puzzle box, his descendent John Merchant – a 20th-century architect whose most recent building bears a striking resemblance to the lament configuration – and Dr. Hellraiser III: Hell on Earth sees Pinhead set loose on the sinful streets of New York City to create chaos with a fresh cadre of Cenobitic kin. Channard (Kenneth Cranham) into the dominion of the Cenobites themselves. Hellbound: Hellraiser II expands on Barker’s original vision as screenwriter Peter Atkins takes Julia Cotton, her step daughter Kirsty (Ashley Laurence) and the sinister Dr. But the Cenobites want Frank back, and there’ll be hell to pay when they find him. Now his former lover Julia (Clare Higgins) must kill to make him whole again. When he manages to escape, Frank returns to the world skinless and in need of help. ![]() But a mysterious puzzle box will take him further than he can possibly imagine, opening the doors to a dominion where pain and pleasure are indivisible and summoning the Cenobites, whose experiments in the higher reaches of experience will tear his soul apart. ![]() Hedonist Frank Cotton (Sean Chapman) thinks he has reached the limits of earthly pleasure. With Hellraiser, his first feature film, he did the same for cinema. In the 1980s, Clive Barker changed the face of horror fiction, throwing out the rules to expose new vistas of terror and beauty, expanding the horizons for every genre writer who followed him. Hellraiser: Quartet of Torment Limited Edition I can't wait to see where they go with both shows.Released: 23rd October 2023. Put Hellraiser at one end of the spectrum and Quartermain at the other and suddenly you have a massive, and fascinating pulp spectrum to play in. Especially as Deadline are reporting that the company are also developing a series based on H.Rider Haggard's Allan Quartermain. This has a lot of potential and I'm fascinated to see what Sonar do with it. It could be Supernatural with extra perversion, True Blood with the handbrake off. The canvas is huge, the central premise has HBO or Starz written through it like Brighton through rock and it has a built in, if somewhat fatigued fanbase. It's also full on crazy pulp genius and anyone who says different hasn't seen the first four movies, especially the one with the gigantic space station that's actually a Lament Configuration puzzle cube.Īctually, thinking about it, this may be the perfect horror property to move across to TV. The movies have a constantly cycling cast of characters, they play with time frames and dimensions and the central concept is one which is both inherently tragic and profoundly disturbing the point at which pleasure and pain become indistinguishable and where the wash of sensation, regardless of consequence, is all. That's a fascinating, and frankly brave, choice to give the TV treatment. Game of Thrones, with it's vast array of characters and locations, is one. There are certain properties that are completely logical to bring across to TV, others which looks like they'll fail and do, and very, very occasionally, ones that have no right to be successful and are. Alasdair Stuart writes for Bleeding Cool.
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