Sweet Suffering Pt 2 (Hellraiser: Hellbound, 1988)

Hellraiser_Hellbound_PosterHellraiser: Hellbound picks up right after the first film and we find Kirsty under psychiatric observation.

The police, of course, think she is…well, a bit crazy.  Doctor Channard is a famous psychiatrist (he runs the Channard Institute) and along with his protege Kyle, is overseeing Kirsty.

But Channard harbors a secret. The Institute’s basement is full of especially disturbed patients (it is reminiscent of the worst of the asylums that made the news in the 80’s). Kirsty has seen the skinless body of her father begging for her to help him, and she becomes obsessed with the notion. She convinces Kyle to investigate.  It turns out that Channard is obsessed with the Lament Configuration and has done a crazy amount of research. He has several of the boxes.  Kyle hides and witnesses Channard sacrificing a patient to bring Julia back from the first film.  This sets everything in motion.

One of the interesting things is that it is kind of clear that although the Cenobites were the most memorable aspect of the films, the filmmakers wanted Julia to be the central villain.  As Doug Bradley himself has noted, Pinhead and the Cenobites are more dispassionate observers. They are simply there to do their assigned duty.

The film delves deeper into the mythology of the Cenobites, or rather, it adds a mythology.  Bradley said he had been told by Barker that Pinhead had once been human, and the film establishes he was a soldier in the 1920’s. The film actually attempts to redeem the Cenobites, by having them fight the other threats of the film. It ends up not quite working, but again Bradley’s performance is terrific.

The film also has some really interesting visuals. Hell is a confusing and seemingly lonely place.  Pinhead warns Kirsty that everyone is in their own hell. She finds her uncle Frank and his hell is a constant teasing of his lust…beds slide out from the walls, women writhing under a sheet…but when Frank removes the sheet there is nothing their. He is facing an eternity of being unable to satiate his lust.

On the other hand, the film falls into the trap of a punning villain, which feels out of place next to the proper Pinhead.

Hellbound is kind of interesting, but also disappointing in how it deals with the Cenobites at the end of the film.

The Legend of Some Guy (The Legend of Hercules, 2014)

Hercules_Legend_PosterYears ago Queen Alcmene for her husband’s lust for power terrifying and pledged to Zeus to bear his son, with the purposes of ending the King’s reign.  Their first born, Iphicles, grows up to be a selfish brat, jealous of his more loved younger brother.  Hercules seems oblivious to his brother’s petty nature, even allowing him to publicly take credit for Hercules deeds. Hercules is happy as long as he has the love of the beautiful Princess Hebe.  But one night, the King announces that she is to be married to Iphicles.  Hercules and Hebe run away together, but are caught.

As punishment, Hercules is sent to Egypt with a regiment of the army.  There, they are ambushed and only Hercules and General Sotiris survive.  They are sold into slavery and end up fighting in gladiator combat.  They use this to get back to Greece so he might save his beloved.  But once they return, it becomes clear that he has a larger destiny.

Part of this is learning to accept his status as a demi-god and embracing Zeus as his father, which he rejects earlier in the film. Oddly, while the film presents the gods as very much real, we never meet a human visage for any of them.  They move through the elements and speak through flesh and blood humans.

To be honest, this film represents a problem I see in attempts to bring myths to film in modern films.  These films seem more influenced by movies than their original stories. The Legend of Hercules feels like a direct to video sequel, and it’s inspirations are all based in films.  This is more of a Gladiator meets 300 (with a scene borrowed from the story of Sampson).

It is incredibly dependent on every action scene doing that “picture pauses mid action, but camera is still moving” effect.  It happens repeatedly during pretty much every action scene.  The end result is a loss of any real identity for the film, rather looking like a knockoff of better works.

Lutz’s Hercules is not a particularly exciting take on the character.  Sure, he is impressively muscular, but that is about it.  The story the filmmakers tell hardly echoes the rich history of the character.  Sure, there is a bit where he fights a lion…

And mind you, it is not wrong to decide to tell an all new story…but then the new story will have to rise to meet the expectations set by the legend.  And this film does not manage such a feat.

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