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.
The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.
The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).
Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.
Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).
Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.
What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.
Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.
Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.
