“People dance because dance can change things. One move, can bring people together. One move, can make you believe like there’s something more. One move, can set a whole generation free.”
It’s pretty surprising how anyone attempting to be considered a legitimate movie critic can somehow sully all credibility with his quasi-positive review of a dance movie set to 3D. What with 3D now shown as nothing but a cheap gimmick, injected in to a movie series that was nothing but a gimmick in the first place, I can understand why people would detest anything with “Step Up” attached. I mean with a quote you see at the beginning of this article, I can’t blame anyone for being remotely aggressive at the sight of this film or a remotely positive grading. But, as is the requisite, I’m in the minority when I say while “Step Up 3D” is a bad movie, it’s not the worst movie in theaters right now. This year brought without a doubt the worst movie in the last five year as directed by Kevin Smith, and we were force fed a “comedy” spoofing “Twilight.” Beyond that we also had a really awful “Nightmare on Elm Street” remake, Brendan Fraser battling animals, and a large Hawaiian wrestler dressed in a tutu and tights, but somehow people are convinced “Step Up 3D” is a plague on the box office.
What with Clive Barker’s gothic romance garnering immense popularity among his fans and horror buffs, it was only a matter of time until the Cenobites took control of the overall premise of Barker’s mythos and headlined the franchise. After the second part, the entire series basically missed the whole point of “Hellraiser” and soon enough Pinhead took center stage evolving in to nothing more than another movie monster prone to Shakespearean diatribes. For better or for worse, Pinhead became the star of the “Hellraiser” films and here he’s reduced to little more than an interactive head on a totem pole. Bye bye Tiffany, you had so much to offer, but it’s off to movie purgatory with you.
Yes much like the original Barker film, I’ve yet to ever really see “Hellbound,” as it’s managed to elude me for many years. I can recall seeing bits of it on a local cable station in America and never quite being able to experience it in its entirety. Tragically the only remotely interesting character in the entirety of “Hellbound” is Tiffany. Introduced as one of the more gifted and confounding of the patients within the mental institution, the character is a labyrinth within a labyrinth, a taskmaster disguised as mentally ill whose own personality and identity is about as enigmatic as the demonic puzzlebox. Imogen Boorman gives a rather striking performance as this walking riddle who consumes most of her time solving puzzles and tricks that doctor Channard gives her.
