Despite Hellraiser and Hellbound: Hellraiser II being considered classics, I’ve never heard much about the sequels besides “they’re awful.” So since it’s one of my favorite horror movies, I decided to go through and watch all the Hellraiser movies. Despite being a slog at times, this was a fun journey and one I hope you’ll enjoy the fruits of!
#1 – Hellraiser (1987)

When she and her husband move into a house previously owned by the husband’s brother Frank, Julia can’t help but fantasize about the sexual encounters she had with Frank many years ago. This mid-life crisis leads to murder, as Frank returns from the dead and demands blood in order to be restored to his fully human form. Meanwhile, her stepdaughter Kirsty encounters the strange angel-demons Frank has escaped from and is in a race against time to trap Frank before her own soul is forfeit.
Hellraiser is obviously a classic and it’s always the classics that are the most difficult to talk about. I can only say “this and that are good” so many times. I think the thing that struck me this time around is how well it pulls off the protagonist shift: from being centered around Julia to being centered around Kirsty. This is a switch we see a lot in horror, especially slasher films. We start the film essentially from the killer’s perspective and it’s only in the last act that we switch to the perspective of the final girl. Hellraiser does this so much better than most, fully immersing us in Julia’s inner life before slowly shifting to Kirsty’s point-of-view and by introducing us to the Cenobites with Kirsty, we are aligned with her for the rest of the movie.
I think part of what works about Hellraiser, when comparing it to the rest of the franchise, is that without the presence of the Cenobites, it’d still be an effective horror film. It wouldn’t be iconic, but it’d be effective. When it comes to the many non-Cenobite centered entries in this franchise, they weren’t particularly good movies before the Cenobites were added in. At the end of the day, Hellraiser is not only good, not only an artistic achievement, but actually iconic in the traditional sense of the word. It captures a mood, an atmosphere, a philosophy so rarified that it was never captured again, just evolved upon in the best instances and bastardized in the worst.
#2 – Hellbound: Hellraiser II (1988)

Kirsty’s presence in a mental hospital gives Dr. Channard the perfect opportunity to open the gates of hell, with a resurrected Julia’s aid. Kirsty and her puzzle-solving mute friend wander through the labyrinth of hell to try and find her father, but the Cenobites are closing in and there’s no bargaining out of their wrath this time.
This movie is bug-nuts banana-cakes insane and I love it. It takes every concept and every theme from the original and dials it up to eleven, for better and for worse. Gone is the moody atmosphere and claustrophobia, as there’s frankly not enough time for it. While Hellraiser is confined and its smallness is its greatest strength, Hellbound is labyrinthian in all the story beats, imagery, and themes it’s trying to hit. You have to be a fan of the original and already invested in Kirsty as a character, as Hellbound makes no concerted effort to get its audience on board. The roller coaster simply goes too fast for that.
Hellbound is in many ways an ideal sequel. It’s intentional, but playful in its relationship with the original. It doesn’t try to recreate the magic, but instead creates its own similar magic. It carries over enough of the aesthetics of the original that even new concepts like a labyrinthian hell feel as part of the universe as the returning elements. While Hellbound lacks the artistic touch of the original, I think it more than makes up for that in raw creativity and thrills galore.
#3/#4 – Hellraiser III: Hell on Earth (1992)/Hellraiser (2022)
A choose-your-own-adventure entry where which movie works best depends on what you like about the original duology. If what you like is the horror movie melodrama, the creativity of the gore, and the technical achievements of the effects, then Hell on Earth is more your speed. However, if what you prefer is the atmosphere, the surrealism, and the general philosophy of the Cenobites, then Hellraiser (2022) is for you.

A reporter with daddy issues finds out from Pinhead’s human soul that his evil counterpart is about to break his way into our world and she’s the only one who can send him back to hell.
Hell on Earth is cheesy. Like really cheesy. But that’s what makes it fun. If it wasn’t a cheesy melodrama thinly veiling a special effects bonanza, it wouldn’t be as high on this list. Even Pinhead’s having more fun, basically acting like Freddy Krueger took over his body. Its major flaw is that it’s not the atmospheric and philosophical horror that made Hellrasier unique in the first place, but then again it wasn’t really trying to be that.

An addict with a shitty boyfriend ends up with a mysterious puzzle box that disappears the people who solve it. As reality unwinds around her, our heroine fears she’s responsible and desperately tries to undo the damage done by the box.
My main qualm with Hellraiser (2022) is that it works really hard to reformat the original ideas into a script that follows a slasher format, but I don’t think that slasher format actually works that well. So much of what doesn’t work around the movie stems from that central issue, from inconsistent characterization to odd pacing. On the positive side, the visuals are solid, the Cenobites really benefit from being portrayed more stoic and otherworldly, and the lead delivers a really solid performance. Ultimately it’s still a good time, but it never reaches the heights of the original duology.
#5 – Hellraiser: Bloodline (1996)

A three part story of three generations of the L’Marchand family. In part one, innocent toymaker L’Marchand becomes an unwitting player in the grotesque and arcane circumstances that made the box the cursed object it is. In part two, L’Marchand is an architect trying to save his family from Pinhead, even if that means opening the door to hell. And in part three, the futuristic descendent of the L’Marchands has set a trap for Pinhead, but is stopped from completing it by unsuspecting space cops.
Bloodline is not nearly the technical marvel that its predecessor Hell on Earth is, but it has its fair share of cheesy special effects to delight. Instead, it’s the story that’s ambitious. A tale of three generations’ relationships with the puzzle box and Pinhead, I personally found each of the three stories compelling. Part two feels tonally like a direct sequel to Hell on Earth and is the weakest for it. Disowned by its director, the directing and acting are indeed subpar, but there’s enough creative juice flowing through this one to get it its place on this list.
#6 – Hellraiser: Deader (2005)

A hard-nosed and street-smart reporter is assigned to investigate a cult that intentionally kills its members so that they can be brought back to life. As she investigates, she falls into the cult’s trap and ends up playing a role in their rituals that she never could have predicted.
All of the Rick Bota entries (Inferno, Hellseeker, and Deader) have these mind-bending story and film techniques that ultimately don’t do a whole lot for the movie. Deader’s mind-bending tricks are the most successful, probably because the story itself is a bit more complex and surreal. With a L’Marchand descendent at the head of the cult, the movie ties into the mythology in an ambiguous but more present way than many of the other entries on this list. The lead performance, played by Kari Wuhrer, is solid enough that she’s my favorite lead character after Kirsty. There’s a lot to like and a lot to be disappointed in with Deader, but the scales ultimately tip towards the positive, making it the last film on this list I’d actually recommend watching.
#7 – Hellraiser: Judgement (2018)

In an abandoned house, a strange man with a strange typewriter judges the souls of those unfortunate enough to enter his domain, with gross punishments awaiting those who are deemed guilty. Outside the house, a serial killer is killing in the name of God and the three cops assigned to catch him struggle to understand him, let alone his connection with other disappeared criminals.
Technically I rated this the same as Hellseeker, but I’m placing it higher because it has one thing working for it: High Strangeness. Truly surrealist imagery that evokes some amount of horror while also being so baffling that it defies logical understanding. Unfortunately these few scenes of High Strangeness are absolutely bogged down by a standard procedural cop movie, complete with the alcoholic jagged veteran, the loyal-to-a-fault partner, and the up-and-coming female rookie. Its twists and turns ultimately feel hollow as the movie desperately tries and ultimately fails to say anything with its wordy dialogue and vague literary references.
#8 – Hellraiser: Hellseeker (2002)

You and your wife get in a car crash. As your car sinks to the bottom of the river, you watch your wife drown inside the car. When you wake up in the hospital, a month has passed and your wife’s body has never been found. Where has your wife gone and why won’t the world go back to normal?
Kirsty’s story gets a sad and forgettable ending as we follow not her, but her shithead husband through his attempts to make sense of her disappearance and all the strange things happening to him. It pulls many of the same tricks as Inferno, to about as effective a result as a wet fart. The lead actor is definitely better than Inferno’s, but he’s given so little to work with that you can’t even be bothered to hate him. What a snooze.
#9 – Hellraiser: Inferno (2000)

A cop sticks his nose a little too far into a ritual murder case and uncovers a conspiracy that threatens his life and everyone he loves. As he rushes to catch the mysterious “Engineer” behind everything, he realizes that nothing and nobody is as they seem.
Clearly not intended to be a Hellraiser movie, just like most of the other direct-to-video entries, the main bad guy of this film isn’t Pinhead, but actually a faceless entity called “The Engineer.” Mind-bending tomfoolery follow to very little effect, taking up lots of screen time and leaving no real impact on the audience. The lead actor is basically dollar store David Boreanez and his two emotional notes are “angry” and “brooding.” It’s hard to much care about a protagonist when the movie makes every effort to make us actively hate him.
#10 – Hellraiser: Hellworld (2005)

Two years ago, their friend died by suicide when he became obsessed with the online game “Hellworld,” based on the Hellraiser franchise. Now, invited to a real-life “Hellworld” party, the friends re-immerse themselves in the game they once loved, this time with even more horrifying results.
What if Hellraiser was a haunted house slasher film that was the epitome of 1999, complete with wannabe Scream writing, even though it was released in 2005? Well you’d get this poorly written mess, that constantly ruins what little tension it creates by having the characters make meta-commentary jokes. Lance Henriksen, the die-hard Hellworld fan who hosts the party, is easily the best part of the movie, but that’s not saying much as even he can’t seem to take the script seriously. Out of all the candidates on this list, Hellworld is probably the best watch for a “Bad horror movie” night with friends but watching it with any amount of earnestness will leave you as cold as the graves these kids get buried in.
#11 – Hellraiser: Revelations (2011)

While on a trip to Mexico, two young men disappear after opening a strange puzzle box. Years later, their families come together for an innocent gathering, only for one of the boys to re-appear. But why is he acting so strange? And what does the puzzle box have to do with it?
If you thought the other direct-to-video sequels weren’t enough like the original Hellraiser duology, well congrats on your monkey’s paw wish being granted. Revelations is truly, actually, and sincerely, barely a movie. It’s not its low budget that’s the problem, but the constant technical and creative incompetence that holds this film back. Now I’m not wedded to Doug Bradley being Pinhead (I actually quite liked the remake’s Pinhead), but the actor they chose for this one ain’t it chief. It’s a thin story stretched as far as it can go, with its twist obvious to anyone who’s seen Hellraiser (and who would watch this without being a Hellraiser fan?).




























