It’s charming enough to not be boring, but does not live up to the revolting hyper-theatricality of Hellraiser .

The special effects stand up ok (better than some of the god awful cgi we see these days), and there's one or three slightly cliched / cheesy bits in the film (a sympton of the decade it was made) but I thoroughly enjoyed it and the story seems much more complete now with a more fulfilling ending.Tribes of the Moon: The Making of Nightbreed featuring interviews with Craig Sheffer, Anne Bobby, Doug Bradley and more . A new petition was created and social networks were used to raise awareness for the extended cut and to encourage producers to release it. Friend to Clive and Seraphim, Russel Cherrington borrowed a copy of the footage on the pretense that he missed the Horror Hound screening and wanted to see it for himself. Hellraiser is an all-time horror classic, while Nightbreed and Lord of Illusions both have loyal cults of worshipers.

This was originally available on VHS/Laser Disc, and then a bare-bones DVD in North America in 2002. Following the somewhat surprising international success of Hellraiser in 1987, Clive Barker was the toast of the town and the horror world was his cinematic oyster. When it comes to extras, Arrow yet again impresses by making brand new feauturettes for this release. The result is patchy in the extreme and not always capable of transcending a genre that has become less and less intriguing as less and less is left to the imagination". Towards the end of principal photography, Barker brought Star Wars concept artist Ralph McQuarrie in to paint mattes for the Necropolis sequences and design the history of the Breed in a symbolic way on an enormous mural across a 60-foot space on the set at Pinewood to be used in the opening credits.The only realistic complaint I can muster is that some shots have been slightly over-sharpened, creating minor edge haloes.

In 2014, original film elements for the cut material were re-obtained and were edited into a director's cut, released through Scream Factory. Unfortunately, Nightbreed probably will be remembered as much for its haphazard plotting and underdeveloped characters as its delightfully daring concept". The results are very good – much better than we could’ve expected from a composite cut and just as good as we should expect from a movie of its age. The image clarity and level of detail is also consistent (enough to ‘give away’ some of the matte paintings), despite the extreme darkness of some sequences, and there are no signs of DNR enhancement. Watching the directors cut felt like watching a completely different movie from the theatrical version.Rumors of a surviving extended cut circulated for decades and finally materialized when a VHS bootleg of the workprint was discovered and added to the reshoot footage to create a 159-minute extended cut, dubbed The Cabal Cut . A drunken priest named Ashberry joins them as God's servant in their upcoming battle against Midian. A FL native, Michael is passionate about pop culture, and earned an AS degree in film production in 2012. Michael Plumides helped convince Morgan Creek to allow the screening, and future screenings at other horror conventions and film festivals. I grew up with the butchered theatrical cut (weirdly I prefer the ending in that one) and had the pleasure of watching The Cabal Cut many moons ago, which adds so many extra scenes that it became overstuffed with things that weren't really needed.

Christopher Young had just written the music for the first two Hellraiser movies and would seem the obvious choice for Barker’s second film, but Nightbreed ended up being scored by a still up-and-coming Hollywood composer named Danny Elfman, who was developing his pedigree only one year after scoring Batman (in an interesting twist, Young ended up replacing an exasperated Elfman on Sam Raimi’s Spider-Man 3 seventeen years later). It includes about 40 minutes of new footage and deletes some of the old footage to reach a healthy 120 minutes.Theatrical Cut: This is the theatrical release, reshot and edited in a way that skewed it toward a slasher film, which was not Clive Barker’s intention.