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"Star Trek Into Darkness" Available for Pre-order on Blu-ray and DVD
From director J.J. Abrams comes the next installment in the Star Trek saga, Star Trek Into Darkness. See it at Cinemark theaters now and pre-order on Blu-ray, 3D Blu-ray, DVD, and the Exclusive Starfleet Phaser Gift Set. Shop Star Trek Into Darkness and more in the Star Trek Store. Learn more |
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In 1988, it emerged as the shocking follow-up to the film that redefined the face of horror. Two decades later, it remains the most brutally original sequel in horror film history. Clare Higgins, Ashley Laurence and Kenneth Cranham co-star in this hit sequel from executive producer Clive Barker that experiences the flesh like no other. The time to play has come again: Surrender yourself to the infernal labyrinth of hellbound: Hellraiser II – The 20th Anniversary Edition.
SPECIAL FEATURES
The UNRATED version of the classic 1988 release
Audio Commentary with Cast and Crew
60 MINUTES OF NEW FEATURETTES:
The Soul Patrol - ALL-NEW interviews with Cenobite performers Simon Bamford, Nicholas Vince, and Barbie Wilde.
Outside The Box - ALL-NEW interview with Director Tony Randel about how HELLBOUND shaped his creative future.
The Doctor Is In - ALL-NEW interview with Kenneth Cranham on his experiences playing the villainous Dr. Channard.
Under The Skin - NEVER BEFORE RELEASED IN THE US interview with Doug Bradley (PINHEAD)
This is a gory movie; make no mistake about that. If you don't want to see the human body mutilated in a number of fascinating ways, this is not the movie for you. As a horror fan, I love the blood and guts, especially since it seems necessary rather than gratuitous to satisfy the requirements of this story. Some of the special effects are a little cheesy toward the end, but one must remember this movie came out in 1988. The original movie seemed pretty limited in scope, providing just a peek into the Cenobites world. This sequel broadens that scope immensely and leads us on a visual journey of wonder and horror through the labyrinth which the Cenobites call home. While the first movie naturally made one wonder where the Cenobites came from, this sequel provides many answers. We learn much about Pinhead in particular, getting visual evidence of the manner in which he earned his nickname. There are aspects about the movie's conclusion I did not particularly care for, but these issues are less important for those who are not hard core horror connoisseurs. This is not a slasher film; those who squirm their way through a Jason or Freddy movie may find themselves unprepared for the extent of the horror in this movie. Those of us who like our horror bloody and disturbing, though, will use this as the benchmark by which we compare all future gory movies.
But this film gives an explanation of whom the cenobites are. They are men, and eventually women, who made other humans suffer when they were humans themselves. Thus Pinhead was a colonial soldier who enjoyed torturing people. Julia becomes a guide in this labyrinth after her rebirth because she was a killer, a criminal, an assassin in real life. But a new cenobites is born in front of our eyes. The psychiatrist is transformed into a torturer because he was such a man in real life, using scalpels and saws to manipulate and mutilate brains.
The twist of this film is that the cube produces a new shape, a double trihedra that is the very symbol of desires, of the flesh. And it is another victim of the psychiatrist, a young girl who was locked by her mother in the hospital of that man, who is able to solve the puzzle of this double trihedra in order to close the cube again, and it closes the labryinth of desires and the brain.
This film is a metaphor, an enormous metaphor, of society, if we consider the brain as a representation or a mirror image of society, and it is. Hence Clive Barker reaches here a social level that is not always present, in such a complexity, in his work. Very often, the flesh, the desires, the feelings, the blood of life are more in the limelight. We must think that the reason is simple : this film is not based on a book. In other words it is purely and firstly visual ; not semantic or linguistic.
Dr Jacques COULARDEAU, Paris Universities II and IX.
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