Hellboy

Alright, so seeing as how I'm comment #430, I don't imagine that anyone is going to read my review, or that anyone will be encouraged to watch Hellboy because of anything that I'll say. There are others who have written short novels on IMDb about what a great movie this is, so there's no point in me doing more of the same.

Suffice it to say that this movie is beautifully shot, well acted (with the exception of the kid who plays the FBI agent) and directed by masterful Guillermo Del Toro with style and grace. It's not for everyone, and those who are fans of the comic will probably enjoy it more than your average moviegoer. But if you like movies like The Crow or Darkman, this one is right down your dark little alley.

Guillermo Del Toro's "Hellboy" is really the sort of comic book adaptation that should be commonplace- a film that feels every bit like a comic book in its energy, style, and visual feel, but is entirely worthy on a cinematic level as well.

Sadly, "Hellboy" doesn't really have much of a plot, at least for half of its running time. Its first hour is Hellboy fighting squids and the mandatory character introductions, and its second hour feels pretty rushed as a result, having to introduce and resolve the bulk of the film's story. Thankfully, however, "Hellboy" avoids the comic book-to-film cliché of basing the first film of any given franchise on the 'superhero origin story' (not that Hellboy is much of a superhero, he's really just a smartass with a gun, except he's from hell), instead keeping all that to a short and dazzling pre-credits sequence. Other than the somewhat rushed and oddly-placed plot aspects, Del Toro's screenplay is fairly impressive, providing plenty of nods towards the comics and a good amount of wit and humor, also echoing the nature of Mike Mignola's work.

The most impressive aspects of "Hellboy" are Del Toro's direction and Guillermo Navarro's photography. Del Toro was always a superb director in terms of visuals, although I've had issues with several of his scripts. His most accomplished film to date in this regard would probably be the superb "The Devil's Backbone", but "Hellboy" shows that he has a surprising knack for directing action in a fluid manner without resorting to the cheap method of quick cutting. Also notable in terms of Del Toro's work here is how he subtly manages to pay homage to the memorable artwork of the comics, for example the overhead shots of Hellboy.

The CGI effects are quite good considering the film's relatively modest budget, and thankfully they don't form the basis for much of this film. The cast are all solid if not fantastic, although Ron Perlman is probably the best actor I can think of to play Hellboy. The final shot is beautiful and perfectly in keeping with the pulp poetry of not only this film but also the comics it is based on.

8/10

Let's be blunt, the movie is, in essence, a little lumbering and flawed and has a rather odd climax. The beginning is overlong and vaguely too fantastical, but once you realize this is a very different world, a comic book really, and normal rules don't apply, it can be forgiven. In fact most of the flaws can be forgiven because of Ron Perlman and what he brought to the picture.

This is one of few movies I've ever gone to see on the opening weekend, possibly the only one. And I did so because I was already a fan of Ron Perlman and it was great to see him in a leading role, even though he's covered in makeup. Perlman is the best thing in this movie; he is perfect as Hellboy. He swaggers through it as if he'd always been a leading man. Delivering one-liners with ease and to perfection, battling monsters through subterranean sets and city streets, and giving a great comedic performance as well as a very emotional one that makes you just love the big red oaf. A great feat considering the extensive makeup he had to act through.

And the makeup and prosthetics are the best of its kind I've ever seen. There's movement and expression in the lips at times that you would think would be impossible. You might at first think that the lips are rather stationary and unexpressive, but if you just pay attention you'll see that there is a lot of movement and subtleties to it. Rick Baker should be praised for his work in this, it's amazing.

Doug Jones is awesome as the body of Abe Sapien. His movements are truly beautiful. And David Hyde Pierce as the voice is perfect. Abe is a very interesting and neat character that I wouldn't mind seeing more of. And his makeup is as amazing or even more so than Hellboy's.

John Hurt is great in this, as is Jeffrey Tambor. Everyone in this does a great job. But Perlman's performance as Hellboy really holds the movie together. His character stands out and speaks to the audience better than any other.

If you liked X-Men or Spider-Man don't expect a movie as well polished and put together, but you should be able to enjoy it and the more overt comic book feel of the movie. And unlike the aforementioned movies there is quite a bit of light humor throughout Hellboy that should garner some laughs from most anyone.

Hellboy isn't perfect, I would have changed some things, but I had fun watching it and in the end, especially for a movie of this type, I think that's what matters most. In fact I like it more now, after seeing it again, than I did when walking out of the theater.

Hellboy is self-conscious, perhaps, but in the best ways possible. Actually, it's more due to writer/director Toro being very aware of what makes up the conventional bits to every sense character-wise to the world of a comic-book, but also what can be entertaining as well, than it is just to having it being a Hellboy movie where the comic-book Hellboy already exists IN this world (guy sees the Hellboy comic, looks up, it's Hellboy!). We get the tough-as-nails, dryly witty, and possibly ticking-time-bomb hero in Hellboy, a deadly serious villain in Rasputin (yes, Rasputin, with a blonde Nazi as his evil side-kick no less), the young apprentice to the hero (Ruper Evans as John Meyers), the hero's love interest (Liz Sherman played by Selma Blair), the father figure (John Hurt's Professor), and the reluctant 'boss' (Jeffrey Tambor), not to mention the plucky side mutant in Abraham (Doug Jones) AND a magnificent creature in that hard-ass slug. They're all there, bright as day (or dark, depending on point of view), and it all works wonderfully due to Toro running with it all head on. It's not done in a way that's meant to pander to the audience, either, but just to have fun with the conventions, to see what makes them all crackle and pop under big-time special effects. It's not quite a guilty pleasure because Toro is also a smart craftsman.

And craftsman just as much as director, he crafts this world where the creatures (which were and still are Toro's forte) are fierce and radically charged, whether they're crucial to the picture like Rasputin's rabid, rapidly hatching slug-monsters that can only be killed one or two ways, or if it's just a minor creature like the zombie Russian corpse that leads a little of the way when Hellboy and his crew are in the main hideout of the villains ("I was better off dead!"). Toro is sensitive to the characters alongside this, and makes them all pretty believable- and I say pretty cause it's all a little simple, yet effective, in the main thrust of Hellboy's emotional core being about Liz and if she may or may not go for John over him- and doesn't dumb it down too much or contrive the relationships for the audience. It's a good balance, because there is A LOT of action in Hellboy, in fact probably at least a 60% allotment to either Hellboy fighting the monsters after him (usually in the subway, or in the Russian castle), or with the possibly un-dead assassin in the mask and leather who marks as one of the fiercest forces in comic book movies.

So, fan-boys rejoice, because Hellboy should, and hopefully will, have everything one looks for in a brawny, high-octane entertainment where humor isn't confused with cheesiness (Perlman is too well focused as a possible anti-hero to get into any of that, as he makes that hugely built red lug a very real being), and the action isn't over-done with a tongue-in-cheek. Not that Toro doesn't flirt with having goofy things in his picture, like a moment where Hellboy has to save a box of kittens from the grasp of the slug-monster. But they're earned moments among a very tightly constructed story where human evils in history and the bizarre in what is in the facts (Hitler into the occult, Rasputin's very long death) into a comfortably understood framework of comic-book clichés that never get too old when done right. Bottom line, can't wait for number 2!

Hell Boy is a near classic of great proportion as played by the underrated Ron Perlman(Beauty and the Beast ) Perlman is an actor you probabley wouldn't recognize as he has had to wear so much facial make up in his career but he imbues 'Hell Boy' with a real humanity and a scathing wit ."How am I ever gonna get a girl when I drive around in a garbage truck ? " John Hurt as his father has little to do but that he loves Hell Boy there is no doubt having rescued him on the night he came from hell . Dr. Broom adopts the boy and they live at the Center For Paranormal Studies in New Jersey with a fish like creature and a fire starter girl who Hell Boy loves to pieces . I hope that this becomes a tent pole series for the studio as I would like to see Hell Boy in other situations . Five of 5 stars for 'Hell Boy'