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Kirsty into a labyrinthine Hell in search of her dead dad. With Barker over­see­ing as pro­ducer, it feels con­sis­tent with what’s gone be­fore, and Hell’s Escheresque en­vi­rons im­press. But it does even­tu­ally start to feel like sim­ply a chase through a string of sur­real set­pieces.

also steps up a lam­en­ta­ble process of Amer­i­can­i­sa­tion com­pleted in III, the last Hell­raiser film which need con­cern you. It takes the fran­chise main­stream, un­leash­ing Pin­head to slaugh­ter the masses, not just those who sum­mon him, and its new Ceno­bites are em­bar­rass­ing: one lobs CDs like shuriken; an­other de­liv­ers wince-in­duc­ing wise­cracks, Freddy Krueger style. A scene where Pin­head pro­fanes a church by mock­ing the Cru­ci­fix­ion still has power, though – even a bas­tardised ver­sion of Barker’s vi­sion has its mo­ments.

Ex­tras Like the Ceno­bites of bonus fea­tures, Ar­row Video test the hu­man ca­pac­ity to en­joy ex­tras to its very lim­its – there’s only space here to list a few high­lights. Le­viathan is a com­pre­hen­sive three-and-a-half-hour doc on I and II, pre­vi­ously avail­able as a stand­alone DVD. Fans of II long fas­ci­nated by stills of Pin­head in med­i­cal garb will be de­lighted to find the ex­cised se­quence it re­lates to. III comes with an al­ter­nate cut that’s three min­utes longer. In­ter­views with Doug Bradley and Sean Chap­man (Frank) are un­usu­ally thought­ful and in­sight­ful; an­other on in­dus­trial types Coil’s re­jected sound­track is also fas­ci­nat­ing. Taboo-bust­ing Barker short The For­bid­den (1978) is like Ken­neth Anger fed through Top Of The Pops’ ef­fects box; per­versely beau­ti­ful, its re­verseprinted B&W im­agery an­tic­i­pates Hell­raiser’s in in­ter­est­ing ways. There’s tons more, in­clud­ing five com­men­taries, more shorts, old fea­turettes, raw FX footage, screen­plays, and the comic book adap of III. Bar­ring old EPKs, pretty much ev­ery­thing is worth your time. Plus: a 200-page book, book­let, art cards and poster. Stag­ger­ing. Ian Ber­ri­man

Doug Bradley orig­i­nally had the choice of play­ing Pin­head or a re­moval man, and ummed and aa­hed about it.

Thurs­days at the suit shop were ex­cit­ing.

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