Following the events of The Prophecy: Uprising, Allison (Kari Wuhrer) continues his mission of protecting the book that writes itself, the Lexicon, as it predicts the war in Heaven and the name of the Antichrist.
Now, Stark (Tony Todd) is leading renegade angels called Thrones to get the book while Allison is assisted by Dylan (Jason Scott Lee, who played Bruce Lee in Dragon: The Bruce Lee Story), a killer who decides to not kill her and keep her safe.
Filmed at the same time as the last movie in Bucharest, Romania by director and writer Joel Soisson who would soon make a trilogy of Dracula movies for Dimension — also with Lee — the fifth Prophecy film is better than you’d think and if you miss Christopher Walken, at least you can appreciate the world-building and mythology that gets carried across five movies.
Compare that to how Hellraiser got treated and come back to these movies and let me know what you think.
There’s no Christopher Walken, but would you perhaps like Doug Bradley, Sean Pertwee, and Kari Wuhrer instead? No? Oh well…
Joel Soisson, who produced the last films in this series and wrote the third one, both wrote and directed this one. And much like every movie made in the 2000s that was a horror sequel, it was shot in Bucharest, Romania and made at the same time as the fifth movie in this series The Prophecy: Forsaken.
Theology student Allison (Wuhrer) has discovered The Lexicon, a mysterious book of prophecies that writes itself, including a brand new chapter of the Book of Revelation that will explain how the war between the angels comes to an end and who the Antichrist is. The demon Belial and the angel Simon both want to use the book for evil and good, so Belial kills people and steals their bodies while Simon starts to guide Allison by using her mental illness to speak directly to her, which is not something that works in a movie in 2021.
The thing I do enjoy about this movie is that it turns out that even Satan doesn’t like the black and white world of evil and good any longer. That makes sense and is very true to who the devil could be.
You may come into this movie upset that it changes so much, but in truth, it’s a good film. By comparison to the Hellraiser series and where that goes, this holds up well.
Uncle Charles (Peter Coyote), Becky Carlton (Aimee-Lynn Chadwick), Cody (Cody Hardrict) and Julian Garrison (John Keefe) return from the last movie, while Katie Williams (Jana Kramer) was going to come back as well, but Kramer had a serious gallbladder infection and could not appear. That meant that she was killed off and replaced by Jenny (Jenny Mollen).
Shot in the home of 2000s direct to SyFy movies, Romania and the Ukraine, this movie concerns, yes, a rave and zombies. Also a drug made from Trioxin called Z that turns you onto a zombie when you smoke it and yeah, that’s about the only clever part of this.
I take that back. Tarman shows up and has to hitchhike to the rave, which has already been bombed by U.S. planes.
I’m really happy that they stopped this series of movies after this film. The 2000s were not kind to horror and this is but one exhibit of the sheer garbage that we had to wade through.
Ten years after the events of Return of the Living Dead III, this movie has Peter Coyote in it and he really seems like too good of an actor to be in the fourth movie of a franchise, much less a movie that debuted on SyFy.
A zombie says, “Send more security guards!” and one of the military experimentation zombies looks like Frankenstein’s Monster with tactical armor and a machine gun and you know, there’s not much else I liked in this.
Ellory Elkayem directed this and Return of the Living Dead: Rave to the Grave, which was made almost directly after this. It’s writer, William Butler, has been the scripter behind a bunch of the recent Full Moon stuff like The Gingerdead Man and the Barbie and Kendra movies (well, he wrote additional dialogue, which makes you question how many words those movies need). His co-writer Aaron Strononi also wrote Gingerdead Man 2: Passion of the Crust.
It’s rough, you know? And with one movie left, it will get rougher.
You can watch this on Tubi.
Based on a short story called “Dark Can’t Breathe” by Joel Soisson — check out our interview with him here — this Rick Bota-directed sequel is the first to have Lance Henriksen in it (he was originally going to play Frank in the first movie, but chose Near Dark instead*) and the last to have Doug Bradley as Pinhead.
This sequel gets meta as a group of young adults are obsessed with the game Hellworld which is based on the Hellraiser movies. One of their friends, Adam, goes full on Mazes and Monsters and kills himself after he gets way too involved.
Two years later, they’re invited by an invitation inside the game to come to an asylum once owned by Lament Configuration creator Philip Lemarchand. It turns into a slasher, as The Host (Henriksen), Pinhead and the Cennobites Chatterer and Bound wipe out most of the cast.
Much like most of the other Hellraiser sequels, this would be a fine low budget horror movie without the name Hellraiser. That term implies that we’re getting something special and sadly, this does not deliver on the promise. If it were just called Hellworld, I’d probably say it was a minor success.
*As it was, Henriksen was already in Romania making Mimic 3: Sentinel and Khary Payton was in another sequel made at the same time in the same country, Dracula II: Ascension. I mean it when I say that nearly all low budget horror in the 2000s came from this country.
Peter Briggs had written an unmade script for Freddy vs. Jason that was a hit with the studio, so he was hired to write this and he chose to ignore those two films above and just concentrate on the first four movies.
But oh yeah, this was a Dimension Film.
And you may have heard it before (Hellraiser: Inferno and Hellraiser: Hellseeker are other examples) that this wasn’t a Hellraiser movie.
That’s because the script that Biggs wrote would have been too expensive, so the studio picked up Neil Marshall Stevens’s spec script Deader and Bob Weinstein told Tim Day to rewrite that story into a Hellraiser sequel but you know, make it J-horror.
And to save even more money, it was filmed in Romania, where all 2000s horror came from, at the same time as Hellraiser: Hellworld.
Amy Klein (Kari Wuhrer) is a reporter sent on assignment to Bucharest. There, she’s to investigate the Deaders cult who engage in the ritual murder and reanimation of their members. She discovers the body of the girl who sent the tape as well as a Lament Configuration, which she opens in a dream and summons Pinhead.
It turns out that she’s been meant to come to the cult, as its leader — and Lament Configuration creator descendent — Winter LeMarchand can’t open the box himself. He has faith that he is destined to lead the Cenobites. He only needs someone who is so emotionally vulnerable and nihilistic that they will submit to dying and being brought back. That’s when he forces Amy to relive the abuse that her father put her through — as well as her killing him — before Winter puts her through the ritual.
Then Pinhead comes and hijinks ensue.
Man, this sounds so much better in words than it does in movie form.
Satan is a lustful lesbian rock chick out to seduce satanic rock star Belcebu — who asks his fans to kill themselves for him — with the promise of eternal life.
Sounds good? Well, Troma distributed this and I was ready to just shut the whole thing off, but as you may notice in other reviews, the last five minutes deliver the kind of Satanic orgy that you don’t often see outside of a Tim Vigil comic book.
IMDB lists this as a TV movie, but I have no idea how this played on TV with that ending that’s filled with crucifixions, blood, demon bats, a monstrous beast having doggy style sex while blazing with the hand cannons, an impalement and things blowing up real good.
There’s a lot to get through to get there, like I said, like the hard scrabble tale of Belcebu’s sex worker ex. Look, if you’re going to call your movie I’m Your Whore from Hell just get to that big blowoff quickly.
Yes, it’s another Full Moon remix — did they invent the remix or did Bad Boy? — in which several of their African-American themed movies all come together, get cut down to one-third of their length and don’t even get a wraparound or narrator to make sense of them all.
“Demonic Tunes” is The Horrible Dr. Bones, a movie in which the Urban Protectors discover that their music is being used to command an army of zombies by the titular Dr. Bones (Darrow Igus, The Fog). This was directed by Ted Nicolaou, who I would put on the good side of the Full Moon balance sheet thanks to movies like TerrorVision, Subspecies and Bad Channels.
“The Killing Kind” is better known as the 1999 Nicolaou film Ragdoll, which was also edited into another Full Moon remix movie called Devil Dolls, which has Doll Graveyard and Demonic Toys as the other segments. Man, a lot of companies have been talking about how they’re into being green and all about recycling, but Full Moon is actually doing it. Actually, this movie comes from their Alchemy Entertainment/Big City Pictures sub-line, because if Full Moon is about something instead of redoing things, they’re about sub-lines. Another of those would be Big City Records, a music label owned by Full Moon, which released the soundtrack, Ragdoll: Music Inspired By The Motion Picture. Diversification, people!
Finally, “Hidden Evil” is another Big City Pictures release, The Vault. Students and a teacher visit an abandoned school that was once a slave house and things go badly, as you can imagine when the supernatural gets involved. Director James Black has 144 acting roles on IMDB, but only made this one film. This one was developed for Band’s Empire Pictures as far back as 1989.
The second story is pretty decent and I think I may actually go back and watch Ragdoll to see how good it is at its full length. As for the rest, I feel like seeing a limited version may have been best for my sanity.
You can watch this on Tubi.
Here’s the sales copy for this:
“Renowned producer and film executive Charlie Band has produced a welter of movies over the years for many different companies; Empire Pictures and Full Moon are just a couple of the production companies that have been led by the irrepressible Band. Now he is back with the Forbidden Worlds imprint, offering fare such as Possessed, which centers around some ghoulish themes that should be familiar to all Bandophiles.”
Here’s the truth: these are re-released films that you may have already bought or watched.
“The Devil’s Spell” is really 1999’s Witchouse, brought back and re-edited down to just thirty minutes. David DeCoteau directed this tale where a witch brings back the modern versions of those who wronged her to get some payback. Look, any time you go to a party and someone pulls back a carpet to reveal a pentagram, something not good is about to happen.
“Witches’ Dolls” is 2001’s Stitches, a Neal Marshall Stevens film that was the original script for Witchouse that was changed up after the producers decided that they wanted a movie closer to Night of the Demons. It does have one very upsetting scene where the villain asks a man to unstitch the skin on her back to reveal her demonic look.
“Resurrection of the Damned” is 1992’s Netherworld, a movie directed by David Schmoeller. He was also the man who made Tourist Trap and Puppet Master, Schmoeller has an interesting background, as he studied theater with Alejandro Jodorowsky and was mentored in film by legendary director Luis Buñuel. This is the story of a young man whose discovers that inside his father’s mansion in Louisiana a secretive cult is using winged creatures to raise the dead. Making this even better is that Anjanette Comer (The Baby) shows up.
You may have seen all of these before. If not, head to Tubi to check out this anthology mixtape of past fims from band’s many studios.
Pierre Le Blanc — also known as Bruno Mattei — is back with another journey into the world of modeling. Much like Sparkles once said, “Well I guess I just my first taste of the filthy side of this business.”
Also, only Bruno Mattei could get away with taking a big chunk of his movie Body and Soul, then adding new character names and redubbing the dialogue, then remixing it all as a brand new movie, much less a sequel to another of his films! Or maybe I’ve watched forty of Bruno’s movies in one week and they’re all starting to congeal together.
There are also scenes taken directly from Belle Da Morire and Snuff Trap, so at least this time, it’s only Perre Le Blanc stealing from Vincent Dawn. Which is, as you may have figured out by now, Bruno taking from Bruno to get me to watch another of his movies.
The really amazing thing is that Bruno was still making softcore movies in 2005, long after people had started renting actual pornography, much less being able to download it. You have to give the old master credit for that. Somewhere out there — well, there’s me at least — there are people who prefer the gymnastic and unrealistic wriggling that passes for aardvarking in the mondo de Mattei.