Like one of the series' iconic cenobites, 'Hellraiser: Bloodline (1996)' has been viciously pulled apart and haphazardly put back together as something entirely different, reminiscent of its former self but barely recognisable to anyone familiar with its non-mutilated version. While directing his first and only feature film, prolific special effects/ makeup artist Kevin Yahger decided to remove his name from the credits due to studio-mandated reshoots (done by a different director) and a forced recut of his original vision, meaning the third sequel to Clive Barker's iconic 'Hellraiser (1987)' carries the damning mark of "directed by Alan Smithee". Although you can certainly see the chasm between initial intent and ultimate execution, the film isn't as bad as you may expect considering its director chose to scrub his name from it. In fact, it's a relatively ambitious affair that's actually better than its direct predecessor, 'Hellraiser III: Hell On Earth (1992)'. Although it isn't especially good, per se, it's definitely enjoyable and has quite a solid sense of style, featuring some of the most atmospheric images of its antagonist ever put to film (the stand-out shot harshly lights Pinhead from the top, allowing the tips of his pins to be highlighted as the features of his face ominously sink back into inky black darkness). The flick takes place in three time periods: 18th century France, late-20th century America and 22nd century space. It tells the tale of the Lament Configuration from its naïve creation to its intended destruction, pitting the ancestors of the box's maker against the creatures it's used to summon. Although the transitions between the three settings are clumsy to the point of being confusing, the overall story is fairly interesting and somewhat unconventional. Perhaps more accurately, it has the potential to be those things. Likely do to the studio's meddling, the end result often settles back into a more mundane rhythm that places emphasis on oddly paced set-pieces and conventional 'monster at the end of the hall' scares. It's clear that someone was nervous about the more measured and cerebral approach the piece was taking, and that they forced a pivot into more traditional but less compelling territory. It does nothing other than hurt the picture, as the end result focuses the most on its least intriguing aspects. A prime example of this is how the film initially seems to set up another main villain, but then throws her by the wayside to reintroduce Doug Bradley's extreme acupuncturist because that's apparently what fans expect. Even when Angelique turns up in her glorious full-blown cenobite form (she has one of the best designs in the series), she's just treated as part of the scenery and never really given her moment to shine. Still, there's plenty to like here and it's genuinely quite fun on occasion. Its less conventional elements are certainly admirable and it has a strong sense of atmosphere throughout. Its cinematography is really satisfying, its special effects are suitably grisly and its score - while a step down from Christopher Young's work - is surprisingly effective. It's far better than you may expect it to be given that it carries the Smithee name. It isn't a patch on the original, but it's a decent effort that's survived what most movies can't even dream of enduring. In a meta way, that kind of makes it a perfect addition to this sadomasochistic series.
