Hellraiser: Quartet of Torment (4K UHD Review)

• Reviewed by: Tim Salmons
• Review Date: Nov 12, 2024
• Format: 4K Ultra HD
• 

Director

Clive Barker/Tony Randel/Anthony Hickox/Kevin Yagher

Release Date(s)

1987/1988/1992/1996 (October 22, 2024)

Studio(s)

New World Pictures/Miramax Films/Dimension Films (Arrow Video)

• Film/Program Grade: See Below
• Video Grade: See Below
• Audio Grade: See Below
• Extras Grade: A
• Overall Grade: A

Review

Hellraiser began its life as one of the more popular and respectable horror films of its kind. Aficionados (and not necessarily critics) immediately recognized the film, which was released in 1987 by New World Pictures, as a bold and artistic genre achievement, unlike anything that had been seen before. It put its creator Clive Barker on the map as one of cinema’s and literature’s most distinguished visionaries, particularly with the help of a quote from Stephen King in the film’s ad campaign: “I have seen the future of horror, and his name is Clive Barker.” Its success led to a number of sequels, as well as a reboot, with diminishing returns. Most fans today agree that the first two sequels, Hellbound: Hellraiser II (1988) and Hellraiser III: Hell on Earth (1992), are the series’ best entries, with the fourth, Hellraiser: Bloodline (1996), gaining renewed interest.

Clive Barker wrote the story of The Hellbound Heart with the intention of turning it into a film in the mid-1980s. Although he had made a couple of short films when he was younger, he had never directed a full length feature before. Scoring a deal with New World, he was able to both write and direct Hellraiser with no real outside interference. During the making of the film, everything was going so well and the studio was so impressed by what they were seeing that a sequel was quickly green-lit before the original had even been released. The finished film did very well theatrically, despite a mixed to negative reception from critics.

Picking up the directing reins on Hellbound: Hellraiser II was one of Barker’s editors from the first film, Tony Randel, while writing duties were handled by Peter Atkins (who would play a part in the majority of the sequels to come). Barker (as well as Randel) were also involved in the creation of the story, and the resulting film was perhaps more popular than the original, with many fans feeling that it actually surpassed it. Due to the character of Pinhead’s burgeoning popularity, thanks in no small part to his extraordinary special effects make-up and repeated grand performances by Doug Bradley, he was given much more to do in the sequels, becoming the common thread throughout them, as well as the face of the franchise.

After the collapse of New World Pictures in the early 1990s, Miramax Films picked up the rights to the Hellraiser series and proceeded to make sequel after sequel over the course of two decades. Hellraiser III: Hell on Earth was the first out of the gate, directed by Anthony Hickox (Waxwork and Sundown: The Vampire in Retreat). Unfortunately, it wasn’t as initially well received as many felt that the original aesthetic had been sacrificed for something more mainstream in appearance and feel. Yet many fans embraced it, gaining much more appeal on home video.

The most troubled production of all, Hellraiser: Bloodline was initially directed by famed make-up artist Kevin Yagher. Though they were aware of the contents of the script, Miramax demanded re-shoots when they saw a rough cut of the film, which Yagher chose not to participate in. Director Joe Chappelle (Halloween: The Curse of Michael Myers) was brought in to shoot newly-written scenes, leaving Yagher no choice but to ask for the infamous Alan Smithee credit, with Chappelle also going uncredited. It resulting film was poorly received once it finally made it to theaters, but once it made it to home video, it was looked at more fondly over time by the series’ devoted fans.

The sequels that followed saw an even sharper decline in quality, with problems ranging from script issues to budget concerns to multiple directors. Even Doug Bradley bowed out after the eighth installment, with other actors brought in to replace him. By this time, Bradley was a horror icon, synonymous with the character of Pinhead, and a familiar face in the horror community. Pinhead continued to rank highly alongside other popular movie monsters of the era, including Freddy Krueger, Jason Voorhees, and Michael Myers. As for Clive Barker, he would continue writing more books and make more films, but his relationships with movie studios during the making of Nightbreed and Lord of Illusions would force him to walk away from filmmaking altogether.

Despite the continuous sequel milking, the Hellraiser series’ popularity has endured for nearly 40 years, especially on home video, where the films have seen a number of releases on optical disc. Arrow Video has now brought the first four films to 4K Ultra HD in the US for the first time as part of their 4-Disc Hellraiser: Quartet of Torment boxed set, having previously been released in their UK exclusive Hellraiser: Tetralogy UHD set. Prior to acquiring the rights to the fourth film, they had also released their The Scarlet Box and Hellraiser Trilogy Blu-ray boxed sets.

Hellraiser and Hellbound: Hellraiser II were shot by cinematographer Robin Vidgeon on 35mm film using Panavision cameras and lenses, finished photochemically, and presented in the aspect ratio of 1.85:1. Arrow’s Ultra HD presentation offers 4K scans and restorations of the original camera negatives mixed with portions of interpositives for sections that were removed from the negatives. The final results have been graded for High Dynamic Range in HDR10 and Dolby Vision, and presented on a triple-layered BD-100 discs. These films have seen substantial improvements on Blu-ray over the years, especially from Arrow Video, though I daresay that these UHD presentations tops them all in the ways you would imagine. Despite the grain variances, a steady bitrate between 80 and 100Mbps is maintained for highly-detailed pictures. It makes some of the visual and make-up effects stand out a little more, which is to be expected, but nothing has been truly sacrificed in terms of quality. The HDR grades boost reds, blues, and greens, improving contrast and deepening black levels, especially in Dolby Vision. Everything appears stable and clean with healthy encodes.

Hellraiser III: Hell on Earth was shot by cinematographer Gerry Lively on 35mm film, finished photochemically, and presented in the aspect ratio of 1.85:1. Arrow’s Ultra HD presentations of the theatrical and unrated versions of the film feature another 4K scan and restoration of the original camera negative mixed with portions of an interpositive for sections of the negative that were removed. The results have been graded for High Dynamic Range in HDR10 and Dolby Vision, and presented on a triple-layered BD-100 disc. Like its predecessors, Hellraiser III sees a vast improvement in terms of fine detail for the vast majority of its presentation, carrying a similarly strong encode with a bitrate sitting between 80 and 100Mbps. The framing issues from their Blu-ray release have been corrected as well, which occasionally revealed far too much information on the left side of the frame. However, there are some drawbacks. The differences in grain and detail due to the alternate sources are far more pronounced, and in the unrated version, there are many shots sourced from low resolution video. The color palette also doesn’t have quite as much to work with, but the HDR grades boost everything it has to offer, improving contrast and deepening blacks. Otherwise, everything is clean and stable throughout.

Hellraiser: Bloodline was shot by cinematographer Daniel Licht on 35mm film with Panavision cameras and lenses, finished photochemically, and presented in the aspect ratio of 1.85:1. Arrow’s Ultra HD presentation features a 4K scan and restoration of the original camera negative only, graded for High Dynamic Range in HDR10 and Dolby Vision, and presented on a triple-layered BD-100 disc. Bloodline appears to have some of the same grain variances, mostly due to the computer-generated visual effects, but it’s a little more integrated since it comes from a single source. It’s a marked improvement over previous presentations, with the same excellent bitrate that sits between 80 and 100Mbps, frequently jumping above that, with much higher levels of fine detail. The film also offers much more variety visually due to the various environments and time periods, meaning that the color palette is much more varied, which the HDR grades greatly improve upon, especially in terms of black levels. Everything is also clean and stable throughout.

All four films feature audio options in English 2.0 and 5.1 DTS-HD Master Audio with optional subtitles in English SDH. For the first two films, they’re stereo mixes were a little more satisfying, whereas for the latter two films, the 5.1 tracks have the edge. There’s plenty of ambient activity, with frequent panning and surround activity. Dialogue is clear and discernible on all eight tracks, with plenty of push for sound effects and score, though the latter two films’ aural tableaus are less interesting than the first two films. New Atmos mixes would likely improve upon all four sound experiences, but these are all fine options in and of themselves.

HELLRAISER (FILM/VIDEO/AUDIO): A-/A/A-
HELLBOUND: HELLRAISER II (FILM/VIDEO/AUDIO): A-/A/A-
HELLRAISER III: HELL ON EARTH (FILM/VIDEO/AUDIO): B-/A-/B+
HELLRAISER: BLOODLINE (FILM/VIDEO/AUDIO): C+/A-/B+

The 4-Disc 4K Ultra HD release of Hellraiser: Quartet of Torment is presented in a fold-out Digipak with a translucent red slipcover, alongside a 200-page hardbound book entitled Ages of Desire, which features an expanded analysis of Clive Barker’s route to Hellraiser, as well as new writings and rare photos from Clive Barker, and Barker archivists Phil and Sarah Stokes. Contained within are cast and crew lists and press kits for all four films, the essays Surgeons of God: Steps on the Forbidden Path to Hellraiser, Hellraiser: Faustus Endures, Hellbound: Another Underworld, Hell on Earth: Pinhead Unbound, Bloodline: Tracing a Troubled Heritage, Pinhead: A Study in Scarlet, a list of acknowledgments, restoration details for all four films, and a set of production credits. Everything sits in a sturdy cardboard slipcase. The following extras are included on each disc:

DISC ONE: HELLRAISER

• Audio Commentaries:
  • Audio Commentary with Stephen Jones and Kim Newman
  • Audio Commentary with Clive Barker and Ashley Laurence
  • Audio Commentary with Clive Barker
• Power of Imagination: Karmel Knipprath and Sorcha Ní Fhlainn on Clive Barker (HD – 58:14)
• Unboxing Hellraiser: Celebrating the Lament Configuration (HD – 21:53)
• Pursuit of Possibilities: A Conversation with Authors Eric LaRocca and Paula D. Ashe (HD – 40:57)
• Flesh Is a Trap (HD – 18:19)
• Behind the Scenes:
  • Intro by Stephen Jones and Kim Newman (HD – 10:30)
  • Extended Clive Barker EPK (Upscaled SD – 4:49)
  • Extended Andrew Robinson EPK (Upscaled SD – 4:24)
  • Extended Clare Higgins EPK (Upscaled SD – 3:18)
  • Extended Ashley Laurence EPK (Upscaled SD – 3:07)
  • Extended Creatures & Effects EPK (Upscaled SD – 9:28)
  • Original 1987 Electronic Press Kit (Upscaled SD – 6:00)
• Archival Special Features:
  • Being Frank: Sean Chapman on Hellraiser (HD – 26:22)
  • Under the Skin: Doug Bradley on Hellraiser (Upscaled SD – 12:32)
  • Soundtrack Hell: The Story of the Abandoned Coil Score (HD – 18:09)
  • Hellraiser: Resurrection (Upscaled SD – 24:27)
• Trailers:
  • Theatrical Trailer (HD – 1:37)
  • Red Band Trailer (Upscaled SD – 1:36)
  • International Trailer (Upscaled SD – 1:37)
• TV Spots (Upscaled SD – 4 in all – 2:13)
• Image Galleries:
  • Image Gallery (HD – 51 in all)
  • First Draft Screenplay (116 pages)
  • Final Draft Screenplay (97 pages)

DISC TWO: HELLBOUND: HELLRAISER II

• Audio Commentaries:
  • Audio Commentary with Stephen Jones and Kim Newman
  • Audio Commentary with Tony Randel, Peter Atkins, and Ashley Laurence
  • Audio Commentary with Tony Randel and Peter Atkins
• Hell Was What They Wanted: George Lea and Kit Power on Hellbound (HD – 85:17)
• That Rat-Slice Sound: Christopher Young and the Music of Hellraiser (HD – 11:54)
• Behind the Scenes:
  • Clive Barker On Set Interview (Upscaled SD – 3:18)
  • Cast and Crew On Set Interviews (Upscaled SD – 4:45)
  • Behind the Scenes Footage (Upscaled SD – 1:51)
• Archival Special Features:
  • Being Frank: Sean Chapman on Hellbound (HD – 11:35)
  • Under the Skin: Doug Bradley on Hellbound: Hellraiser II (Upscaled SD – 10:52)
  • Hellbound: Hellraiser II – Lost in the Labyrinth (Upscaled SD – 17:03)
  • Deleted Surgeon Scene (Upscaled SD – 4:51)
• Trailers:
  • Theatrical Trailer #1 (Upscaled SD – 1:55)
  • Theatrical Trailer #2 (HD – 1:19)
  • Theatrical Trailer #3 (HD – 1:32)
  • Red Band Trailer (Upscaled SD – 1:41)
• TV Spots:
  • TV Spot #1 (Upscaled SD – :33)
  • TV Spot #2 (Upscaled SD – :33)
  • Soundtrack TV Spot (Upscaled SD – :33)
• Image Galleries:
  • Storyboards (HD – 126 in all)
  • Alternate Ending Storyboards (HD – 10 in all)
  • Stills and Promo Material (HD – 152 in all)
  • Draft Screenplay (HD – 97 in all)

DISC THREE: HELLRAISER III: HELL ON EARTH

• Audio Commentaries:
  • Audio Commentary with Stephen Jones and Kim Newman
  • Audio Commentary with Peter Atkins
  • Audio Commentary with Anthony Hickox and Doug Bradley
• Behind the Scenes:
  • Electronic Press Kit (Upscaled SD – 12:15)
  • FX Dailies (Upscaled SD – 23:49)
• Archival Special Features:
  • Time with Terri with Paula Marshall (HD – 14:53)
  • Raising Hell on Earth: An Interview with Director Anthony Hickcox (Upscaled SD – 13:59)
  • Under the Skin: Doug Bradley on Hellraiser III: Hell on Earth (Upscaled SD – 13:46)
• Theatrical Trailer (Upscaled SD – 1:52)
• Image Gallery (HD – 25 in all)

DISC FOUR: HELLRAISER: BLOODLINE

• Audio Commentary with Stephen Jones, Kim Newman, and Peter Atkins
• The Beauty of Suffering (HD – 27:48)
• Workprint Version:
  • Workprint Version (Upscaled SD – 82:11)
  • More Alternate Footage (Upscaled SD – 5:51)
• Hellraiser Evolutions (HD – 48:15)
• Books of Blood & Beyond: The Literary Works of Clive Barker (HD – 19:23)
• Theatrical Trailer (HD – 1:14)
• Image Gallery (HD – 12 in all)

Most of the extras from all optical disc-based releases of the film have been included, save for a few choice exclusions. These discs are the same discs included in Arrow’s UK exclusive Hellraiser: Tetralogy UHD boxed set, so there’s nothing missing in that regard. Both releases added a healthy amount of new audio commentaries and never-before-seen behind-the-scenes material, but most importantly, the workprint version of Bloodline. Arrow specifically states that it’s not the director’s cut, which is presumably lost, but even as a time-coded VHS source, it presents an interesting alternative to the main feature, offering a more linear narrative.

However, as packed as this beautiful release is, there were a few things left out. The Leviathan: The Story of Hellraiser documentary, which was presented in segments on Arrow’s previous Blu-ray releases, is not included; nor are the first and second film’s screenplays, which were accessible via BD-ROM, and a New World Pictures VHS promo for the first film, which was included as an Easter egg. Also not carried over is the fan-made short The Hellraiser Chronicles: A Question of Faith, and Clive Barker’s short films Salomé and The Forbidden, which also contained optional introductions from Barker. That’s not including the wealth of text-based material from The Scarlet Box Blu-ray set (which the Age of Consent book mostly re-purposes). This should go without saying, of course, but all of this material is worth hanging onto if you have any of these previous releases. In truth, a pair of Blu-rays containing all of the extras that have been crammed onto the UHDs, plus what’s absent, might have been a better way to go.

The legacy of Hellraiser lives in on in the Quartet of Torment and Tetrology 4K UHD boxed sets. It’s only a matter of time before the other, lesser films in the series receive similar treatment, but for many, these four films matter the most, even as flawed as the latter two can be at times. This is a beautiful release and belongs on your shelf if you’re a fan. Highly recommended.

- Tim Salmons

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