The new Hellraiser is less than the sum of its sliced and stretched parts, even if there are gory pleasures to be found. rockmarooned's review:
wrings horror from a sort of psychological optical illusion: As a grieving woman played by Rebecca Hall creeps around her lonely home, she catches glimpses and shadows of something unsettling and sinister, somewhere beyond the veil. Bruckner and his screenwriting collaborators Ben Collins and Luke Piotrowski therefore seemed ideally suited for a new version of.
It takes close to an hour of this set-up and detective work to lead into what seems to be the main event: Riley, Trevor, Matt’s boyfriend Colin and roommate Nora arriving at a remote mansion owned by a missing rich man—sort of a posh version of. There are some human-laid traps, but moreover, the box has summoned Cenobites, a group of extra-dimensional beings, led by the Hell Priest , known to horror fans, as well as probably some video-box-art connoisseurs, as Pinhead.
What happens next I should not describe, presumably because it would spoil the movie, and also because I’m still confused by it; much of the movie’s drawn-out climax involves slow walking. Sometimes, for a change of pace, there is limping. The movie is part slasher, part creature-feature and part psychological horror, with a healthy portion of everyone’s favorite horror villain: Trauma.
That gore has its rococo moments, yet Bruckner’s take on the material seems oddly respectful—a horror kiss of death. There are hints of animal desire in early sex scenes between Riley and Trevor, only to have the movie shunt off their coupling in favor of shoe-leather plotting, a mixture of impenetrable and predictable.
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