Brand new audio commentaries for all four films by film critic Kim Newman and Hellraiser unit publicist Stephen Jones, also joined by screenwriter Peter Atkins on Hellraiser: Bloodline Flesh is a Trap - visual essay exploring body horror and transcendence in the work of Clive Barker by genre author Guy Adams (The World House) – NEW (18 mins)

Power of Imagination, a brand new 60-minute discussion about Hellraiser and the work of Clive Barker by film scholars Sorcha Ní Fhlainn (editor of Clive Barker: Dark Imaginer) and Karmel Kniprath Being Frank: Sean Chapman on Hellbound - archival interview about the actor’s return to the role of Frank CottonBrand new and exclusive 4K restorations of Hellraiser, Hellbound: Hellraiser II, Hellraiser III: Hell on Earth and Hellraiser: Bloodline by Arrow Films from the original camera negatives

That Rat-Slice Sound - brand new appreciation of composer Christopher Young’s scores for Hellraiser and Hellbound: Hellraiser Ii by Guy Adams And into this morass of stagnating blood and guts came Barker’s bizarre creation, itself a Frankenstein of unlimited imagination and horribly suffocating production restrictions, a film that at once showcased a first-time film maker and an author (the film is based on one of his novellas, The Hellbound Heart) whose worlds far exceeded anything in horror or dark fantasy before and arguably since. Far more than the sum of its parts, it opened up a landscape of twisted sexual fantasy intertwined with equally perverse physical torture; it parlayed a prosthetic-driven creature feature into the midst of a very suburban melodrama; and it delivered a sense of the dreamily uncanny, of the off-kilter shot through impossible environments (is it set in the UK? The US? Even our world? Who knows?) and nightmare logic with no discernible rhyme nor reason… Archival features, including Hellraiser Evolutions documentary, Books of Blood and Beyond literary appreciation, theatrical trailer and image galleryExperience the sublime agony of this quartet of torment like you never have before in all-new 4k restorations from the original camera negatives. Hell has never looked better! and those filters always looked softer in comparison for the most part and remains so here, albeit with a slightly better handling of the underlying grain and detail. The film delves into hell, taking the audience and characters there, and shows us that the Cenobites were once humans themselves; a fact that would play heavily into subsequent movies. The inclusion of the Escher inspired hell-world, the unknowable god Leviathan, and the further machinations of Julia, expand the story and setting in ways that most horror sequels simply didn’t do. But it’s by no means perfect, and the over-designed nature of the Channard Cenobite and the destruction he wreaks feels like a foreshadowing of the third movie, and leads the final act of the film to be the weakest part of the movie.