Hellraiser III: Hell on Earth
Hellraiser III Hell on Earth
The Hellraiser franchise is like any fast food franchise of similar bleakness and horror. The disturbing original, operating on a premise of commercial sadomasochism, expands that premise in a way which hardens the sadism of its sequels while expanding the masochism of its patrons beyond metaphysical conception.
With Hellraiser III the franchise becomes less interested in disturbing its audience, instead relying on an hour and a half of teases with a climax of dissapointed, wasted time. Which, whips and chains and hellbent leather aside, is the true hallmark of a sadism reduced from overexposure to a weaponized impotency.
The opening scene features a character, J.P. Monroe, who wears matching red cowboy boots to his red sports car, which will never be seen again, and worries me because the budgest wasted more money on the car.
Things are not good.
J.P. goes into a modern art museum, which will never be open and relies on it's patrons to break, enter and steal whatever modern art suits thier criminal tastes. He purchases a stone column with a fresco of scultped, screaming faces on it for an undisclosed wad of cash to a man who looks like he also spent an undisclosed wad on the statue and now wants only to part with it.
This scene also encapsulates J.P.'s one and only "theme".
Cut to a newscaster delivering a story from a hospital where no one important is dying at the moment. The newswoman, Joy, is dissatisfied with the the lack of news in the city, a dissatisfaction soon to be crushed, regretted and nostalgically missed when all the "Hell on Earth" business is said and done.
She walks into a hallway and is abruptly interrupted by paramedics rolling a stretcher with a man who has bloody chains trailing after him, as if he was a disembloweled Marley from A Christmas Carol. He grabs the woman's dress and attempts to pull it down after asking for help which he had already helped himself to.
The man is taken into an operating room where, after Joy tries to figure out what's going on from a bystander, there's an explosion of sprakling light. This makes me think the man had a fuse on him which explains his earlier groping.
Chains latch onto the ceiling and shoot electricity through the man right before his head explodes and the movie cuts to a flatline on a monitor, in case one anticipated the gore and looked away, but was still curious afterwords about this expendable and the end of his affairs.
No questions of signifigance will be answered from this scene because there are no questions of signifigance to be asked.
The reporter goes to The Boiler Room to folow the story, a bar with maniquins wrapped in razor wire and platic baby floating above looking about a much like a gimp as it is legally possible for a baby to do so. She finds a lead and goes into the classy resturant adjacent or above The Boiler room. Here she meets J.P. and Terry, who is whatever classification of "ho" J.P. would grant her if he only had any bros to balance the equation.
The reporter has a flashback of her father in Vietnam, where he was shot in slow motion as the helicopter he either just jumped out of or was planning to fortuitiously get on flies off, also in slow motion, which, I suppose considering the slow motion motiff to this set piece, leaves him to bleed out a frame a second and moan about it a syllable a scene.
Terry calls Jo Anne the next morning and wants to talk. They meet at Joy's apartment, but Terry begins to get agitated when Jo Anner asks about the exploding head man from The Boiler Room.
Terry pulls The Box out of her backpack, which the camera focuses in on in order to clue me in on it while also obscuring Terry's face, which is maybe foreshadowing that I won't see Terry's face as it normally is ever again.
Meanwhile the boyfreind J P finds a hole in his statue and sticks his hand in it. A rat who doesn't suffer fools gladly attacks him and, in swinging it around, J.P. slops blood all over the statue, which it sucks into itself and makes Pinhead's Grid light up. J.P. thinks this is all very cool even though he probably now has rabies and the statue has whatever blood-born diseases he contracted from his many girlfreinds, and probably rabies.
The next morning Terry attempts to cook breakfast and burns the toast so bad the toaster looks like it just popped a tart wih Egon. She takes Joy to the art gallery where J P got the statue. They find out The Box came from a lunatic asylum and nothing else, and since this scene wasted my time, I wasted yours as well.
Back at the S&M club J P sees a woman so hot I'm sure she'll get naked and die before I can develop feelings to make me care about her. He get's his enablist bartender to give her a rose out of the Stoli cooler. J P chats her up and I begin to notice he looks like a cross between Steven Tyler and Stevo from Jackass, so he's probably very talented at singing Rag Doll and taking a beating for it.
J P takes her upstairs and has sex with her while covering her breasts, yet not his ass, almost as if he knows he's being watched. He has an orgasm tangibly disspointing to whoever-she-is-soon-to-be-was.
J P attempts to kick out the woman- I'll check the credits for her name because I'm sure J P doesn't know it- and she throws a pissy fit when he demands his shirt back. She backs too close to the Statue, which sends hooks into to her and allows this mischief to happen. The hooks go in so deep that when it pulls them back, it not only rips off J.P.'s shirt, but also her bra, which I guess was part of an ensemble of J.P.'s he doesn't want generally known, but also her skin, from head to toe.
Oh, Hellraiser, you are indeed one sadistic son of a bitch.
After she is stripped down to her prenatal alltogether, J P is phased, but I'm not. I'm thinking how long it takes him to figure out how many roses he can pass out a night without ever having to have a "get the fuck out" conversation again.
Pinhead starts talking out of the statue after this, having dialectical debates with J P about the relative evil of flaying a woman and alive and eating her soul vs. using women sexually, and what's weird is J P appears to be losing. After J P shoots Pinhead with a Desert Eagle enough times to kill Boris the Bulletdodger and Pinhead spits the bullets out like Ace Ventura, Pinhead gets rhetorical. He convinces J P to help him start something about "dominion" which has "already begun", all of which I would need, .50 caliber bullet spitting aside, some specifics on from a talking demon in a statue. that just hopped out of a statue like a mutilated stripper out of The Red Wedding Cake.
Meanwhile back at Joy's Terry sees The Box and starts caressing it as if Gwyneth Paltrow's head is in there begging to be let out for a cameo in 8ight.
J.P. invites Terry over so Pinhead can eat her. She gets close to the Statue but backs away, so J P tries to force her to the statue where the actor playing Pinhead feels really dignified while screaming "Ahhh!" over and over again because that's all he can do in the statue. Terry knocks out J P and Pinhead gives a let-down "Ahhh!" which probably isn't the first of it's kind Terry's heard in that room.
Just as Terry is about to leave Pinhead doublecrosses J P and convinces her to kick J P close enough for Pinhead to hook him up and plug some rods in his head. This animates the statue, which Pinhead more or less literarlly comes out of like a mutilated stripper objecting to the Red Wedding by refusing to bake in the cake.
Joey has a dream where Captain Spencer, a.k.a. Pinhead, tells her that her nightamres of war sequed into his WWI dreamworld and he was able to seque into hers. He also tells her Pinhead will come after The Box so he can seal off the Gate of Hell and stay in the real world, but Captain Spencer somehow wants to use The Box to bring Hellraiser into his WWI dreamworld where he has control. This scene doesn't so much advance the plot as it makes two previously longer scenes superfluous.
Meanwhile, at The Boiler Room, Pinhead sets off an IEPD (Improvized Explosive Plot Device) that sends a guy flying across the room and gets everyone's attention quicker than the Iron Maiden rip-off band I'm sure appears on the soundtrack and nowhere else. Pinhead say's "Let's begin" and I have a good feeling the shit that just hit the fan is about to get fifty shades darker.
Among a few things:
Pinhead shoots a fishhook at a woman whose boyfreind amazingly catches it only to have it rip his fingers off and squirt blood all over her. Pinhead ruined in one fell sweep not only the date, but also the boyfreinds only consolation in dealing with his failure.
Pinhead's head whisps out of a woman's drink, then transforms into an icle and impales her through her mouth, so it'll look like she was skullfucked by Iceman when it melts.
A CD DJ who could have been replaced with a shuffle machine gets stabbed multiple times with his own CDS, which, now that I think about it, why was he even there along with the band? I guess the band was lip-synching covers from a vast array of shitty bands that refused to be in the movie, and also indirectly killed the DJ who could have merely brought with him a single copy of Hellraiser III, Music Inspired by the Motion Picture.
Chains impale (in one case two people at once), hang, rip and sometimes just shoot out at nothing at all, Pinhead himself laughing away like the Marquis de Sade watching Looney Tunes.
Joey wakes up to a report of the massacre on the local news. She makes her way to the bar, where there are more bodies than her WWI dreams and one in particular that appears to be stuffed with pool balls. She comes upon Pinhead, who expounds again about suffering and offers her a quick death. She refuses, so Pinhead attempts to snatch the box which zaps him like the electric chastity belt Rogue should have worn in True Blood.
Joey flees, and a calamitous series of events follow her too humdrum and numerous to report after The Boiler Room slaughter. She runs into Dale, her camera man, who now has his camera within his head, positioned where the lens are where his right eye should be. He's angry at Joey and telescopes the lens through a bystander's forehead, leaving a hole which the movie also films through like a come shot from the perspective of the sperm that stayed behind.
Two other cenobites appear, one being I guess the CD DJ, only now shaved all over and bloody like Pink in The Wall, who shoots CDs at people, and a fat one that blows fire .
Joey goes into a church for solace which I don't think she's going to find in the Hellraiser theological framework. When she tells a priest about the Demons the priest says demons are "parables and metaphors", and immediately after Pinhead opens the door. This is when Hellraiser III gets kinda weird.
Pinhead melts a cross into the Priet's hand, then goes to the alter and petulently slaps the cross off. He then pulls out one of the needles from his head which has a maggot speared through it, then stabs himself through the palm of his hand. He does this again with another needle and maggot from the exact same spot. The candles burn by themselves and Pinhead makes a Jesus pose, saying "I am the way".
Joey runs into a construction site where Cenobite Terry and J P are waiting. Terry has a cigarette through her throat which doesn't affect her voice, and J P had a pump of sorts through his head that he likes "better than sex", and I believe him. Terry does not resent this.
They encircle Joey, and don't do much else until the other Cenobites arrive, under the supposed direction of Pinhead or maybe independent of him entire and pursuing thier own idea of S&M that only parenthetically involves the set of Hellraiser III. Joey opens The Box, which sucks up the other cenobites and maybe Pinhead although it never shows this. I guess the movie's over now.
Joey even asks Captai Eliot "Is that it?" herself. She gets transferred to the dreamworld so I'm guessing this movie doesn't have a safeowrd I can just shout out and make it all go away.
Her father appears, but when he hugs her he gives the camera a malicious look. Joey foolishly gives him The Box and then wonders how he knew her name, and it turns out to be Pinhead, who also plot-wise doesn't have a reason to know her name and, for that matter, she his. Joey, however, takes a hint from Captain Eliot she conveintly remembers and transforms the dreamworld back to Captain Eliot's. 'Hell on Earth" seems very fickle with it's setting, as if certain things can only happen in certain dreams of certain dreams, all of which, curiously, are set neither on Earth and only involve myself in Hell.
Captain Eliot wants to take Pinhead to Hell, but Pinhead is a polite gent and wants ladies to "go first", so he hangs Joey from some chains. He then puts her into a Gimp suit which covers her face and makes her whimper and moan, which is a deliberate attempt I think to make me feel bad for finding her more attractive now that she can't act as badly as before.
The floor bursts open and some sort of worm comes out of it, I guess to devour Joey's soul or make her whimper more.
This is where Hellraiser III gets really wierd. Captain Eliot agrees that Pinhead and himself belong together, although no one posiited this, and grabs his arms. The two began to merge at the forehead in a Fun House Mirror-effect fashion, then the foreheads intertwine in a way only possible in fringe Anime Porn, until Pinhead sucks up Captain Eliot the way Buu split himslef and ate his better half in Dragon Ball Z. And speaking of DBZ, it would be cool to see Pinhead blow steam out of his nail holes in frustration.
Pinhead is his same self, but Captain Eliot takes over for a brief second and tells Joey to send him to hell. I'm not sure how a fusion with Pinhead made this more plausible, but it's getting late and Redtube's a calling so I'm game enough not to ask questions.
Joey tries to open The Box and a blade shoots out. She stabs Piinhead somewhere I can't find because he's bleeding everywhere he's exposed, like a leper with excema, and tells him to go to hell with an emphasis I find a little disconcerting since that means there's a Hell beyond whereever the Cenobite's call home.
Pinhead gets sucked back into The Box and it spins a bit befor falling to the ground, releiving only Leonardo Decaprio of suspense. Joey wakes up in the construction site and sticks The Box into wet cemet that really, in our "really real word", should have already been dry.
The movie ends with shots of whatever building was built there, which feautes sides of The Box everywhere, which means, judging from my limited architectural knowledge, that the architect was disatified with the foundation, had it broken up and found The Box.
Fee fi ho hum.
How the massacre at The Boiling Point was explained is left open, so I'm assuming- hey, I'm an asshole- the police figured a bad batch of acid hit the streets which conviced a gang of chain-weilding Hells Angles they were in a fucking repltile zoo and, deciding to go to battle with the goddamn things, rolled iniative and slaughtered the patrons like so many LARPERS with styrofoam swords. Hey, it's a better explanation that the one Joey will give them if they hunt her down.
And as far as I can tell, the woman J P wanted out of his fucking house was Brittany Virtue, and the band, which I suppose also does the "Hellraiser" theme song for this installment, is called "Armored Saint" and has a memeber named Gonzo.
He plays the drums, unless he teamed up with Spinal Tap.
The Hellraiser franchise is like any fast food franchise of similar bleakness and horror. The disturbing original, operating on a premise of commercial sadomasochism, expands that premise in a way which hardens the sadism of its sequels while expanding the masochism of its patrons beyond metaphysical conception.
With Hellraiser III the franchise becomes less interested in disturbing its audience, instead relying on an hour and a half of teases with a climax of dissapointed, wasted time. Which, whips and chains and hellbent leather aside, is the true hallmark of a sadism reduced from overexposure to a weaponized impotency.
The opening scene features a character, J.P. Monroe, who wears matching red cowboy boots to his red sports car, which will never be seen again, and worries me because the budgest wasted more money on the car.
Things are not good.
J.P. goes into a modern art museum, which will never be open and relies on it's patrons to break, enter and steal whatever modern art suits thier criminal tastes. He purchases a stone column with a fresco of scultped, screaming faces on it for an undisclosed wad of cash to a man who looks like he also spent an undisclosed wad on the statue and now wants only to part with it.
This scene also encapsulates J.P.'s one and only "theme".
Cut to a newscaster delivering a story from a hospital where no one important is dying at the moment. The newswoman, Joy, is dissatisfied with the the lack of news in the city, a dissatisfaction soon to be crushed, regretted and nostalgically missed when all the "Hell on Earth" business is said and done.
She walks into a hallway and is abruptly interrupted by paramedics rolling a stretcher with a man who has bloody chains trailing after him, as if he was a disembloweled Marley from A Christmas Carol. He grabs the woman's dress and attempts to pull it down after asking for help which he had already helped himself to.
The man is taken into an operating room where, after Joy tries to figure out what's going on from a bystander, there's an explosion of sprakling light. This makes me think the man had a fuse on him which explains his earlier groping.
Chains latch onto the ceiling and shoot electricity through the man right before his head explodes and the movie cuts to a flatline on a monitor, in case one anticipated the gore and looked away, but was still curious afterwords about this expendable and the end of his affairs.
No questions of signifigance will be answered from this scene because there are no questions of signifigance to be asked.
The reporter goes to The Boiler Room to folow the story, a bar with maniquins wrapped in razor wire and platic baby floating above looking about a much like a gimp as it is legally possible for a baby to do so. She finds a lead and goes into the classy resturant adjacent or above The Boiler room. Here she meets J.P. and Terry, who is whatever classification of "ho" J.P. would grant her if he only had any bros to balance the equation.
The reporter has a flashback of her father in Vietnam, where he was shot in slow motion as the helicopter he either just jumped out of or was planning to fortuitiously get on flies off, also in slow motion, which, I suppose considering the slow motion motiff to this set piece, leaves him to bleed out a frame a second and moan about it a syllable a scene.
Terry calls Jo Anne the next morning and wants to talk. They meet at Joy's apartment, but Terry begins to get agitated when Jo Anner asks about the exploding head man from The Boiler Room.
Terry pulls The Box out of her backpack, which the camera focuses in on in order to clue me in on it while also obscuring Terry's face, which is maybe foreshadowing that I won't see Terry's face as it normally is ever again.
Meanwhile the boyfreind J P finds a hole in his statue and sticks his hand in it. A rat who doesn't suffer fools gladly attacks him and, in swinging it around, J.P. slops blood all over the statue, which it sucks into itself and makes Pinhead's Grid light up. J.P. thinks this is all very cool even though he probably now has rabies and the statue has whatever blood-born diseases he contracted from his many girlfreinds, and probably rabies.
The next morning Terry attempts to cook breakfast and burns the toast so bad the toaster looks like it just popped a tart wih Egon. She takes Joy to the art gallery where J P got the statue. They find out The Box came from a lunatic asylum and nothing else, and since this scene wasted my time, I wasted yours as well.
Back at the S&M club J P sees a woman so hot I'm sure she'll get naked and die before I can develop feelings to make me care about her. He get's his enablist bartender to give her a rose out of the Stoli cooler. J P chats her up and I begin to notice he looks like a cross between Steven Tyler and Stevo from Jackass, so he's probably very talented at singing Rag Doll and taking a beating for it.
J P takes her upstairs and has sex with her while covering her breasts, yet not his ass, almost as if he knows he's being watched. He has an orgasm tangibly disspointing to whoever-she-is-soon-to-be-was.
J P attempts to kick out the woman- I'll check the credits for her name because I'm sure J P doesn't know it- and she throws a pissy fit when he demands his shirt back. She backs too close to the Statue, which sends hooks into to her and allows this mischief to happen. The hooks go in so deep that when it pulls them back, it not only rips off J.P.'s shirt, but also her bra, which I guess was part of an ensemble of J.P.'s he doesn't want generally known, but also her skin, from head to toe.
Oh, Hellraiser, you are indeed one sadistic son of a bitch.
After she is stripped down to her prenatal alltogether, J P is phased, but I'm not. I'm thinking how long it takes him to figure out how many roses he can pass out a night without ever having to have a "get the fuck out" conversation again.
Pinhead starts talking out of the statue after this, having dialectical debates with J P about the relative evil of flaying a woman and alive and eating her soul vs. using women sexually, and what's weird is J P appears to be losing. After J P shoots Pinhead with a Desert Eagle enough times to kill Boris the Bulletdodger and Pinhead spits the bullets out like Ace Ventura, Pinhead gets rhetorical. He convinces J P to help him start something about "dominion" which has "already begun", all of which I would need, .50 caliber bullet spitting aside, some specifics on from a talking demon in a statue. that just hopped out of a statue like a mutilated stripper out of The Red Wedding Cake.
Meanwhile back at Joy's Terry sees The Box and starts caressing it as if Gwyneth Paltrow's head is in there begging to be let out for a cameo in 8ight.
J.P. invites Terry over so Pinhead can eat her. She gets close to the Statue but backs away, so J P tries to force her to the statue where the actor playing Pinhead feels really dignified while screaming "Ahhh!" over and over again because that's all he can do in the statue. Terry knocks out J P and Pinhead gives a let-down "Ahhh!" which probably isn't the first of it's kind Terry's heard in that room.
Just as Terry is about to leave Pinhead doublecrosses J P and convinces her to kick J P close enough for Pinhead to hook him up and plug some rods in his head. This animates the statue, which Pinhead more or less literarlly comes out of like a mutilated stripper objecting to the Red Wedding by refusing to bake in the cake.
Joey has a dream where Captain Spencer, a.k.a. Pinhead, tells her that her nightamres of war sequed into his WWI dreamworld and he was able to seque into hers. He also tells her Pinhead will come after The Box so he can seal off the Gate of Hell and stay in the real world, but Captain Spencer somehow wants to use The Box to bring Hellraiser into his WWI dreamworld where he has control. This scene doesn't so much advance the plot as it makes two previously longer scenes superfluous.
Meanwhile, at The Boiler Room, Pinhead sets off an IEPD (Improvized Explosive Plot Device) that sends a guy flying across the room and gets everyone's attention quicker than the Iron Maiden rip-off band I'm sure appears on the soundtrack and nowhere else. Pinhead say's "Let's begin" and I have a good feeling the shit that just hit the fan is about to get fifty shades darker.
Among a few things:
Pinhead shoots a fishhook at a woman whose boyfreind amazingly catches it only to have it rip his fingers off and squirt blood all over her. Pinhead ruined in one fell sweep not only the date, but also the boyfreinds only consolation in dealing with his failure.
Pinhead's head whisps out of a woman's drink, then transforms into an icle and impales her through her mouth, so it'll look like she was skullfucked by Iceman when it melts.
A CD DJ who could have been replaced with a shuffle machine gets stabbed multiple times with his own CDS, which, now that I think about it, why was he even there along with the band? I guess the band was lip-synching covers from a vast array of shitty bands that refused to be in the movie, and also indirectly killed the DJ who could have merely brought with him a single copy of Hellraiser III, Music Inspired by the Motion Picture.
Chains impale (in one case two people at once), hang, rip and sometimes just shoot out at nothing at all, Pinhead himself laughing away like the Marquis de Sade watching Looney Tunes.
Joey wakes up to a report of the massacre on the local news. She makes her way to the bar, where there are more bodies than her WWI dreams and one in particular that appears to be stuffed with pool balls. She comes upon Pinhead, who expounds again about suffering and offers her a quick death. She refuses, so Pinhead attempts to snatch the box which zaps him like the electric chastity belt Rogue should have worn in True Blood.
Joey flees, and a calamitous series of events follow her too humdrum and numerous to report after The Boiler Room slaughter. She runs into Dale, her camera man, who now has his camera within his head, positioned where the lens are where his right eye should be. He's angry at Joey and telescopes the lens through a bystander's forehead, leaving a hole which the movie also films through like a come shot from the perspective of the sperm that stayed behind.
Two other cenobites appear, one being I guess the CD DJ, only now shaved all over and bloody like Pink in The Wall, who shoots CDs at people, and a fat one that blows fire .
Joey goes into a church for solace which I don't think she's going to find in the Hellraiser theological framework. When she tells a priest about the Demons the priest says demons are "parables and metaphors", and immediately after Pinhead opens the door. This is when Hellraiser III gets kinda weird.
Pinhead melts a cross into the Priet's hand, then goes to the alter and petulently slaps the cross off. He then pulls out one of the needles from his head which has a maggot speared through it, then stabs himself through the palm of his hand. He does this again with another needle and maggot from the exact same spot. The candles burn by themselves and Pinhead makes a Jesus pose, saying "I am the way".
Joey runs into a construction site where Cenobite Terry and J P are waiting. Terry has a cigarette through her throat which doesn't affect her voice, and J P had a pump of sorts through his head that he likes "better than sex", and I believe him. Terry does not resent this.
They encircle Joey, and don't do much else until the other Cenobites arrive, under the supposed direction of Pinhead or maybe independent of him entire and pursuing thier own idea of S&M that only parenthetically involves the set of Hellraiser III. Joey opens The Box, which sucks up the other cenobites and maybe Pinhead although it never shows this. I guess the movie's over now.
Joey even asks Captai Eliot "Is that it?" herself. She gets transferred to the dreamworld so I'm guessing this movie doesn't have a safeowrd I can just shout out and make it all go away.
Her father appears, but when he hugs her he gives the camera a malicious look. Joey foolishly gives him The Box and then wonders how he knew her name, and it turns out to be Pinhead, who also plot-wise doesn't have a reason to know her name and, for that matter, she his. Joey, however, takes a hint from Captain Eliot she conveintly remembers and transforms the dreamworld back to Captain Eliot's. 'Hell on Earth" seems very fickle with it's setting, as if certain things can only happen in certain dreams of certain dreams, all of which, curiously, are set neither on Earth and only involve myself in Hell.
Captain Eliot wants to take Pinhead to Hell, but Pinhead is a polite gent and wants ladies to "go first", so he hangs Joey from some chains. He then puts her into a Gimp suit which covers her face and makes her whimper and moan, which is a deliberate attempt I think to make me feel bad for finding her more attractive now that she can't act as badly as before.
The floor bursts open and some sort of worm comes out of it, I guess to devour Joey's soul or make her whimper more.
This is where Hellraiser III gets really wierd. Captain Eliot agrees that Pinhead and himself belong together, although no one posiited this, and grabs his arms. The two began to merge at the forehead in a Fun House Mirror-effect fashion, then the foreheads intertwine in a way only possible in fringe Anime Porn, until Pinhead sucks up Captain Eliot the way Buu split himslef and ate his better half in Dragon Ball Z. And speaking of DBZ, it would be cool to see Pinhead blow steam out of his nail holes in frustration.
Pinhead is his same self, but Captain Eliot takes over for a brief second and tells Joey to send him to hell. I'm not sure how a fusion with Pinhead made this more plausible, but it's getting late and Redtube's a calling so I'm game enough not to ask questions.
Joey tries to open The Box and a blade shoots out. She stabs Piinhead somewhere I can't find because he's bleeding everywhere he's exposed, like a leper with excema, and tells him to go to hell with an emphasis I find a little disconcerting since that means there's a Hell beyond whereever the Cenobite's call home.
Pinhead gets sucked back into The Box and it spins a bit befor falling to the ground, releiving only Leonardo Decaprio of suspense. Joey wakes up in the construction site and sticks The Box into wet cemet that really, in our "really real word", should have already been dry.
The movie ends with shots of whatever building was built there, which feautes sides of The Box everywhere, which means, judging from my limited architectural knowledge, that the architect was disatified with the foundation, had it broken up and found The Box.
Fee fi ho hum.
How the massacre at The Boiling Point was explained is left open, so I'm assuming- hey, I'm an asshole- the police figured a bad batch of acid hit the streets which conviced a gang of chain-weilding Hells Angles they were in a fucking repltile zoo and, deciding to go to battle with the goddamn things, rolled iniative and slaughtered the patrons like so many LARPERS with styrofoam swords. Hey, it's a better explanation that the one Joey will give them if they hunt her down.
And as far as I can tell, the woman J P wanted out of his fucking house was Brittany Virtue, and the band, which I suppose also does the "Hellraiser" theme song for this installment, is called "Armored Saint" and has a memeber named Gonzo.
He plays the drums, unless he teamed up with Spinal Tap.