The "Hellraiser" series has been around a long spell, going back to Clive Barker's genesis of the Cenobite concept in his novella, "The Hellbound Heart". That the series went the direct-to-disc route after the fourth installment never bothered me, beyond the fact that I'd have appreciated bigger-screen premieres for each new story, all of which I thought were fine, even if they didn't always measure up to the original quartet. (And I realize that some will go so far to say that things slipped right after "Hellbound: Hellraiser II", but many of those same folks never dared pick up a Marvel adaptation of Barker's mythology, let alone explored how far the series could--and should--go. In other words, some have sorely missed the bloody, potential point).
"Hellraiser: Judgment" is the latest (and tenth) entry in the franchise, written and directed by "Hellraiser" special-effects guru, Gary J. Tunnicliffe, who wrote "Hellraiser: Revelations" and now plays an officious Cenobite called the Auditor. The film also stars Paul T. Taylor as the new Pinhead, who takes the reins from Stephan Smith Collins, who took such from long-lasting legend, Doug Bradley.
Keeping with tradition, this entry doesn't skimp on its demons, which include Mike J. Regan as the Chatterer; John "Feast" Gulager as the Assessor; Joel Decker as the Butcher; and Jillyan "Die Gest" Blundell as the Surgeon. Blundell also acts as one of the Stitch Twins, paired with Lindi Simpson. In clustered form, we also get Andi Leah Powers, Mary Kathryn Bryant and Valerie Sharp as the Jury; and acting as the Cleaners, Diane Ayala Goldner, Molly Nikki Anderson and Christina Parson. (There's also the tall, angelic Jophiel, played by Helena Grace Donald, whose ironic presence ultimately defies and defines Pinhead's fate.)
Though most of the Cenobites act as little more than gruesome garnishing, the real (most visible) leads are terrestrial, but no less interesting for it. They include the brotherly detectives, Sean (Damon Carney) and David Carter (Randy Wayne), who are assisted by the diligent Christine Egerton (Alexander Harris). Heather Langenkamp (Nancy Thompson of sweet, ol' Elm St.) has a marquee-value cameo as a helpful landlady, though the main supporting, female role goes to Sean's forlorn wife, Alison (Rheagan Wallace), who impacts the brothers' relationship as they dissect the heinous acts of a Ten Commandments-motivated serial killer called the Preceptor.
The Preceptor is tied to the Cenobites, of course, whose magnetizing allure brews from an off-the-beaten-track "Old Dark House", which one of the brothers locates with dire, revealing results. Charles Dickens references (catering mostly to "A Tale of Two Cities") weave through (and contrary to what one might think, work to a sensible and symbolic degree), as the sadomasochistic carnage tiers in the most clever and repulsive ways. (The Abominable Dr. Anton Phibes would be most impressed, to say the least.)
This mix makes "Judgment" feel like “Hellraiser” meets “Seven” meets “Silence of the Lambs” meets "American Horror Story: Hotel", with extraterrestrial pages inserted from “Twin Peaks: the Return": a wide hodgepodge for sure, but for the most part, the pieces fit.
Its gory bridges, however, aren't as stylized as what one finds in the initial "Hellraiser" films, where a kind of Hammer Studios sensuality was employed. “Judgment” behaves more like a supernatural variation of “Hostel”, “Saw” and "The Human Centipede", and therefore, holds kinship with H.G. Lewis’ films, though devoid of the ‘60s/’70s nostalgia. This fiendish layering won’t suit every person's taste and for the general squeamish, “Judgment” would be best avoided.
For those who appreciate modern monstrosities, however, the film should invigorate. It stays uninhibited from start to finish, just like many of Barker's short stories and novels: unapologetic and cruel in the way life (and death)'s foibles are displayed. The film is by no means a ground breaker in this respect and doesn't pretend to be. Tunnicliffe simply allows the story to stretch the franchise's familiarity to worthy measure.
I'm relieved, therefore, that the writer/director/make-up artist (and those others involved in the production) didn’t try to reinvent the wheel to the point of insult: “Judgment” doesn’t spit in the eye of its fan base like “Last Jedi”, that is. Even when the Auditor and Pinhead discuss the inadequacy of the Lament Configuration in the age of computerized chills, the story (and accompanying atmosphere) remain pitted in what Barker commenced. Though the tale is current-day, it's still old and weathered in the best, Gothic horror sense. The addition of a clunky, old typewriter as a main feature reinforces this, with the Auditor using the device to cull confessions from those who enter his crusty chamber.
Arguably (when all is said and done), "Judgment'"s creaky, doleful interludes between new and old are what make it cozy, as any insufferable friend's sporadic presence would and should be; therefore, this chapter is a hellraising success, no matter what the ding-dong naysayers may say.
Also, much like "Curse/Cult of Chucky", "Phantasm: Ravager" and the recent "Leatherface", there's no reason why this one couldn't have played theatrically. It, too, has a guaranteed, built-in audience, despite those who've hypocritically denounced the series for its perceived, degenerating descent. To its further advantage, "Judgment" offers a swell, finale that strengthens its subtitle's meaning. If you don't believe me, check it out for yourself, and damn you to sweet, eternal Hell if you should dare disagree.
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