Hellraiser: Inferno (2000)
Directed by Scott Derrickson
A detective solves the puzzle box that releases the diabolical demon, Pinhead. As those around him begin to meet tragic fates, he sets out to conquer the horrifying villain.
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What critics compared Hellraiser: Inferno to
Between the two Sinister films, The Exorcism of Emily Rose and Deliver Us From Evil — hey even Urban Legends: Final Cut and Hellraiser: Inferno , I’ve liked Scott Derrickson’s films.
He started out making dreck like “Hellraiser: Inferno” and the not-so-impressive sci-fi thriller “The Day the Earth Stood Still,” but over time, he perfected his directing capabilities by churning out effectively creepy horror films like “The Exorcism of Emily Rose,” “Sinister” and “Deliver Us from Evil,” culminating in one of Marvel’s best origin films, “Doctor Strange.”
Derrickson, himself, of course, Coming off his venture into the Marvel Cinematic Universe with 2016’s Doctor Strange , Derrickson himself has followed the director’s handbook in some respect in terms of cutting his teeth by directing horror films Hellraiser: Inferno and The Exorcism of Emily Rose but he has refined his craft hugely in the years since and The Black Phone is him at his most assured, primarily given his closeness to the subject matter.
En este sentido vale aclarar que Derrickson es un realizador y guionista desparejo, como casi siempre lo son los creadores que trabajan mayormente por encargo, con la capacidad de entregar basura como Doctor Strange (2016), la realización que originó la secuela de la discordia, Hellraiser: Inferno (2000), quinto y bizarro eslabón para video de la franquicia iniciada por la gloriosa faena original de Clive Barker de 1987, y El Día que la Tierra se Detuvo ( The Day the Earth Stood Still , 2008), remake muy poco interesante del clásico de ciencia ficción de Robert Wise de 1951, propuestas mediocres aunque con alguna que otra escena eficaz que dejaba en evidencia la destreza de Derrickson para el aprovechamiento de las fórmulas retóricas más antiguas, pensemos por ejemplo en El Exorcismo de Emily Rose ( The Exorcism of Emily Rose , 2005) y Líbranos del Mal ( Deliver Us from Evil , 2014), y finalmente obras en verdad loables que recurren en gran medida a múltiples clichés de los géneros en cuestión…
Just as smart, the film’s director, Scott Derrickson (taking a giant leap from the Blumhouse cheapie-chiller Sinister, not to mention Hellraiser: Inferno) stylistically nods to puzzle-box brainteasers like Dark City, Inception, and The Matrix to conjure a cinematic universe that couldn’t be further removed from the usual Marvel spandexapaloozas.