(15)93mln 00

V i' Hz", 3,1,:

514. I? 1i,v(,.v,l [)\~'/[) ‘,i|,

AMIIWILLE I]: THE 933528510»


Hit: mam mvlluu; ()()|ll( ()1

HIV Ill‘»! Alli/Inu/lw I Iii/m1 Hm! I! litirml (ill .1 'Imfi T»I()l\l IIiv I) )‘,.‘.i flux/i )II ldlxi-f, ,1 311ml.“ him, fiiillilili) (>11 ‘Il >\.‘./|\. l)ll|l(l|ll() (K) ,i (lll‘»|\,. i'lt'.ll\ ifll(l. Ill ll'.lll‘, ‘.‘.’.l‘,fi I13. .111

(um I up (Iii. hill ll (11%.! .il u nil imlrir, Ilr; (mm. ll

H Him) 11) in? .m iHl‘.‘.’HH('Il |.l‘.‘.’ ((1.11 lhv tinni hullltrl In any

(Mini llllli (lllllllt) (in: Mir. (mi in in) mink) ll) .il) Hus, Iltf‘.t'I null} \smiks. .11 imin .llltl if you ship ,mm, Ilit? (minim l\|1-:!(1‘)I(’It\v unintuitiuii mime lliltit‘iilt‘JHI. i’uiimin; (ilt' uii|\, ()Hlt‘i (Illllt) ‘.'.’()llll me. )lllilk) It. .i \Ullllt) Mix) Mum's liiii‘el .i()l‘:‘.l(,lii( t‘

‘llt'Iil‘, Ntiitiiiimwi

Hil ll (HIM! HUHHx >ix‘. GREAT CRIMES AND TRIALS (15) 660mm

ll JK‘A [)\'[) It‘ttllli


Perhaps We (itemiqu t‘iimt' (‘miiim‘lt‘eii wit". this HENWE‘IH DVD (Div-33018 1m ".‘UHIW Hciwi i‘nvmil I:"ll),l|l):§ a Kuw- riXiH (it‘s) (to Iii“: terror (it' "in‘ "OJ C" C: ()(‘Jrlili‘d

~7x‘lt‘gi‘ “‘1‘

I! \t‘.‘ ‘-'|l{"t\‘1


" ' t 'I!‘ it I III ' A" ' 1:11,“? vi 7' I! ‘l,

,zi‘” .' )I, "Lliii‘ik'lt? T'uriawtir'euirlil1W: 1"? .r- MINI E i"? 1,; ,wzwiig .'.‘,I.". ,r hi) mmtwl 'Hv'I) "'11 ; U) i'i-‘iilIlq )T '1 ,"'Iiit' i'fin‘ .'.~ii')::1 wyifiw

'.'.ii n ,1? :>!i|i. Tris- (in: arm: Mimi iv (it '.')i" Minutiii i .miilx.

‘I/H'wab‘iilit((1)411?!(HIM (VII BMW)", Mimi: rum: .m. (LILI'H) '{Iillt'“(Ail/Milk! HUM)?Iiiiiltf'llUIHHN)

iiimri [)1)I)<li()?yiiiir

I)! HIV/\i IVE H( )HH( )11‘ THE HOUSE COLLECTION (18) 269mm

(Aiuiiiii Hm, [)Vi) ltflilll) .0.

Hank (H 1886 Home ‘.‘.;lb (’1 >131 #1]! war}; (“mix ',()lll)()t'Ilil()H)t3I .1 (Lilllliirtl (mum: hilt:

((‘IH I-Hiirig; VltEIILlll‘ an! Hum! (:tfl)!’ “.N’zlluin‘ Kalli mum,- my“. $.13) :v.'..1ilm'.m I“. m: i (mm: 'v‘m‘n. .ui'm .MU Ru! II If; H a. :viitmr new {kit We (villi), ::)\'(1(\1L‘.1'\11l‘\, "xskiini Epwgiv or: .i:‘.‘.'..ili Him: I ((),..‘\t‘ II/ if; g: iiiftwmt (waist.

\ ritiirmii, (Iifl‘t'tl(153((()";)i' .‘§".".'. 7 Ti‘z‘ (It‘jn‘vfi III {at} H"), .iflzui '(V' ‘13; l!)ii*('\,l'.!t)",l1It‘lt-dtsié. Its.) 11(1th liliit- (Mimi (lu‘k unrivvrriuifi .1 (my ll .mn: iii-mkwrm l).iLiI)I(l-(l m m:- m‘imi killw ‘BHOH .J.1'i‘t":;i m“ i‘lOLIQI‘i It) )LISUCU. CU')TLIS.IT()|‘,. my 'ouvt'i wistialri‘il'il It: 9. (WM) smuci to the first malt", anlx a. (w, imam

°.i ".:; _"‘..l')t)t"tll int its

it :; a tired: snapshot

THE nE'runN (12) 185mm

‘J(;‘//' ’4 .. 'r

l')',"" (ziii i. " l .,K 1)..) I, , :. v.<«v',i.'.'.:’«" hill» >""'l w? "‘1' ,mi'. l’fwl ' 1 ‘)()i'i)-'r.'./')t:(i'l/z‘ifnt1'

((lrkn‘fim, H z:.:' , x'W .'.

(NU (\I/(in’f T", 1111', '1. t": I“

(Mr, tiled-Ill 'l .11.. .1“: (inmrguf; Sim/'Q'hfi (Ne? )./.1!ii:;hm_i) 1 i:--::--3 Miiiiiimiimi, .‘a,(l‘.l;'i :* ,i'vl

1;(’(‘.l‘;’;(‘.(ii!, mimim; 2m: iliil) ‘iil‘: rini'nigpxfl I'M"!


(Itllnriirfifi. I'M .i'w‘wi:

t1')‘,’.,'.i(",) 2:9»: ,(,\. Utft,‘

It‘d. ,(nli, tiri'i: , (lilfif‘nfll ii (1'. Tm: ’Lii‘i:ll‘.(l Ililfiltmliiiii/T$()lliii:'1)tl‘$f. Extra}; :(1(,(ll(2(r (l (1)3)(ilihlllilqHlIHllHlflll‘v ‘iimkiiit; tit” <i()<:tiiiit:iil,ii‘,; .1 (:um;iroiiunruw: Him, gallon, gum gm ()I?()ll)(ii ilillitfl. (Pain [)aiu.


(MGM Home [Jilmtauiiimrii [)Vl) (Chill) 0..


Unfair); (i(if$(l()éii(:(l iii. the (llXEILil Christian .011 (but (an); (‘iifiiltJilItfH l)‘, the Jt:\'.’|8() ()I£:ESE>' at mt”: tum;- ()i its release cam," this car, Mm Gibson‘s intestigatiori arm) ‘.‘..'i{:i mm, or ma, ".qu mm.-

nappcrwci to "1"”; Citrst‘

I ' I ' ' ' m 1 ' i i.) . 7 .3 ;;_:.: L; HELLRAISER (18)285min " 'E-‘n. I)! wt: COO.

Box clever: Hellraiser

There was a time when Clive Barker was the cutting edge of horror. His unique take on the genre kicked the likes of Stephen King and James Herbert firmly into touch with The Books of Blood, an inspired collection of short stories. He’d worked in the theatre for years so a move to film seemed almost inevitable.

Adapting from his own novella The Hellbound Heart, Barker made his feature film directorial debut in 1987 - Hellraiser splattered onto our screens. Dark and wilfully perverse, a new breed of sexualised intellectual horror taking its cues from David Cronenberg‘s early works mixed with a cyber-punk aesthetic was born. At heart it was the tale of a puzzle box, the Lament Configuration, that when solved opens the gates of hell, unleashing the Cenobites, the bored sadomasochistic guardians of the borders between pleasure and pain. Kirsty (Ashley Lawrence) and her family become embroiled in this visceral world as stepmother Julia (Clare Higgins) attempts to resurrect uncle Frank (Sean Chapman). It’s a twisting tale of forbidden desires, a nasty, gore-drenched piece of work with a vicious intelligence at play. With only approximately ten minutes of screen time Doug Bradley, as lead Cenobite Pinhead, became an instant icon, an elegant, eloquent monster.

A sequel was inevitable and Hellbound: Hellraiser II, while confused especially after they enter Hell itself still provides some shocking imagery. In particular Kenneth Cranham puts in a superb performance as the ruthless and obsessed head of the asylum Lawrence finds herself in after the events of the first film. Though notably, while Barker provided much of the story, he’d stepped down from the director’s chair with Tony Randel taking the helm.

By Hellraiser III: Hell on Earth Bradley was the only returning character and it had become a more basic horror franchise (in fact there are a further five films after this taking the series up to VIII). Transposed to America, while it has some nice touches, Pinhead now had more in common with the wise cracking Freddy of the latter Nightmare on Elm Street movies than his magisterial presence of the first two.

All three films are presented in their full uncut versions with excellent extras, from printable draft scripts (via your computer) to various commentaries and docs. In the main there was a core of intelligent people behind these movies, and Bradley and Barker give some great insights here in the extras. Above that there is a fourth disk of bonus material including more interviews and two of Barker’s early (admittedly rubbish) student films Salome and The Forbidden. An exemplary, beautifully packaged (in limited addition ‘box’) set that fully utilises the possibilities DVDs offer. In the words of Pinhead: ‘We have such sights to show you.’ (Henry Northmore)

I I‘M/“mac, 8.». Sb. .) (1.:114111", .. .. I: , ,I, ,. , /, .r