One local actor is about to give us all nightmares. Paul T. Taylor, who has appeared on stages all over Dallas-Fort Worth, along with a handful of movies and TV shows, has been cast as Pinhead in the upcoming movie Hellraiser: Judgment.
The 10th installment in the gory film franchise, created by horror master Clive Barker, was announced suddenly in mid-February. The news came this past weekend via Bloody Disgusting that Taylor was taking over the lead role.
Taylor is a classically trained actor who has racked up accolades in everything from Mr. Burns: A Post-electric Play at Fort Worth's Stage West to The Hot Mikado at Dallas' Theatre Three to Miracle on 34th Street at Dallas Children's Theater.
Now he's donning the movie monster's acupuncture-gone-wrong look after the previous Pinhead from 2011's Hellraiser: Revelations, Stephan Smith Collins, declined to reprise his role. Doug Bradley played the role in the first eight films.
Director Gary Tunnicliffe previously teased the casting of a new Pinhead with a post identifying the actor as “a classically trained stage and film actor who brings a great physical presence and more than a hint of Peter Cushing and Ralph Fiennes.”
Anyone who saw Taylor as the titular and terrifying Mr. Burns at Stage West will have no problem imagining him as the villain.
A Dallas actor will play Pinhead in the next installment in the Hellraiser movie franchise.
Photo courtesy of New World Pictures
A Dallas actor will play Pinhead in the next installment in the Hellraiser movie franchise.
Michaela Coel and Ian McKellen in The Christophers.
Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.
Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.
Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.
Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.
Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.
While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.
Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.
Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.
