Movie Review, Hellboy II

Although I'm not sure the corporate overlords will let me retroactively expense a movie ticket, I wanted to take a few minutes to write my review of Hellboy II. It's been a pretty good summer for movies already: but Wall-E and Iron Man were pretty much perfect A movies. I was a big fan of the original Hellboy comic, the first movie, and of Pan's Labyrinth- my fear was that it could only go downhill. And I was wrong. VERY wrong. Read on for my review which will be mostly spoiler free. Getting a babysitter is enough work that I don't get to see nearly as many movies these days as I would like. But I knew Hellboy II had to be sitter-worthy. But I was scared going in. I always thought of Hellboy as being a comic with thick chunky lines. Bold colors. Broad brush strokes. Guillermo Del Toro's previous film is Pan's Labyrinth, and if ever a film maker has made a movie with detailed, intricate, subtle work, it was him. I was afraid that he would take a film that was so unlike the comic book that I would lose out on a favorite director and a favorite comic book at the same time. But i was so wrong.

The movie starts off far more funny than the first Hellboy. This is very much in keeping with the quirky ad campaign that has been promoting the film (the inside the actor's studio commercial for example is quite funny). Hellboy is once again Ron Pearlman- the genius bit of casting that made the first movie so great is a huge win for any sequel. He's tired of working for the BPRD in secret and is going out of his way to be spotted by the real world. But a mythos of ancient elves is working to retrieve and unify some widgets to awaken a golden army of indestructible robots, and it's up to our heroes to stop it from happening.

The elven world is very much Del Toro's designs. Likewise, an extended sequence through a secret troll market hidden under the brooklyn bridge gives him a great canvas to paint his stylistic genius. And seeing the big and clumsy Hellboy smash through it is incredibly satisfying. The action sequences are all excellent, and the final robot battle is very fun and well done.

All the while this is done with some nice plot twists for the major characters. A love interest for Abe comes along. A new good guy is sent in from the BPRD to reign in our uncontrollable hero: Krauss is voiced by Seth Macfarlane basically doing his fish char from American Dad, but inside a wacky suit controlled by ectoplasm vapors. Selma Blair is back as Liz: they give her some good lines and a few good sequences, but she's mainly a support role.

So Guillermo Del Toro was able to work within Mike Mignola's world. He put his own thumbprints all over the work, and the whole comes out better than the sum of the parts. And this makes me all the more excited for the Hobbit, where I have all the same concerns: Tolkein and Jackson will give him even bigger shoes to fill, and now I think he can do it.

Comments

Second best movie...

[firefly4f4]

I've seen all year behind Iron Man.

Loved the visuals, and the song scene had me nearly rolling on the theatre floor with laughter.

Disappointed

[Anonymous Coward]

I went into it with high hopes, but was largely disappointed. It seemed to barely be about hellboy. While the visuals, background and world were interesting and appealing, they seemed to me to be a completely separate franchise, that very distinctly left the world created in the first one.

Thought the "new" character was an epic disappointment as well.

Felt like the director wanted to make a movie primarily about something else, and dragged hellboy along for the ride in a bit role.

Two camps on this movie

[Rastl]

Response to this movie is turning into two camps - love it or hate it.

I fall mildly into the 'hate it' camp. Too much of the director's vision, not enough freakin' story.

Underdeveloped characters, waaaaaaaaaaaay too much CGI, overly cluttered scenes, eco-terrorist plot. All adding up to me literally yawning my way through the movie.

The original movie appeals to me because of a strong story with supporting visual effects. This movie seems to be all about overwhelming visual effects with some story thrown in to try to pull them together.

If this is what Pan's Labyrinth is like then I'm glad I didn't waste my time in seeing it. I don't see the director as 'visionary' any more than I see M. Night Wasshisname as a visionary.

Harsh, I know. But I'm rather picky about how I spend my precious free time and wasting it on this movie just annoys me.

Re:Iron Man == "perfect A" ?

[oodaloop]

Just to show it's all a matter of perspective, I saw it as a rather UNpatriotic don't-support-the-troops kind of movie. It seemed to show war as always bad, the defense industry as crooked and evil, the war in Afghanistan pointless (we couldn't even stop the massacre in this one small town!). Also, the Iron Man saga always starts in a war-zone; it was Vietnam in the first issue, later revised to the first Gulf War, now Afghanistan. And I don't recall Iraq being in it at all. The story may have been "cheesy", but it was faithful to the comic book, more or less.

I don't want to start an argument or anything, but it just goes to show it's all a matter of opinion.

"Less than half those who ever lived have died"

[Ungrounded Lightning]

At one point in the last few decades it was estimated that, thanks to the human population explosion, more than half the human beings who had ever lived were still alive. (There were jokes about the expectation of eventual death being less than 50%. B-) )

I hear that, since then, the origin date for "humans" has been pushed back enough by additional evidence that the "less than half" estimate was discredited.

But it is an interesting thought.

(Why SHOULD people HAVE to die, after all? At least before the heat death of the universe? OK, so the machinery of the meat breaks down. But is there any inherent reason one couldn't, with sufficient improvements in technology and application of resources, repair it indefinitely? Or even rebuild and restart it after it fails? For some time now death has been, not a state, but a prognosis: That (with current medical technology) the body's systems can no longer be repaired (and if necessary restarted) to the point that it can again operate in a way recognizable as "alive".)