Directed By Neil Marshall
Starring – David Harbour, Ian McShane, Milla Jovovich
The Plot – Hellboy is back, and he’s on fire. From the pages of Mike Mignola’s seminal work, this action packed story sees the legendary half-demon superhero (Harbour) called to the English countryside to battle a trio of rampaging giants. There he discovers The Blood Queen, Nimue (Jovovich), a resurrected ancient sorceress thirsting to avenge a past betrayal. Suddenly caught in a clash between the supernatural and the human, Hellboy is now hell-bent on stopping Nimue without triggering the end of the world.
Rated R for strong bloody violence and gore throughout, and adult language
– Charming ensemble. While he will never be no shadow-filler for Ron Pearlman, I can say that I found a lot of redeeming qualities about Harbour’s delve into Anung Un Rama that kept this film interesting at times when the story failed endlessly. David’s timely deliveries for comedy, as well as his registry as a tortured soul aching for belonging, is everything different that Ron Pearlman’s brute demeanor didn’t convey. Instead, Harbour instills a sense of vulnerability to the character that we often don’t see, bringing him closer to humanity as he tangles with this immensely powerful adversary. Speaking of which, Jovovich is serviceable enough as well, even when the dialogue she delivers does her no favors in terms of intimidation along the way. Milla is giving her all to play an antagonist for the first time, and there’s a lethal dose of seductive sting that she offers to the role that makes her dangerous for all of the things that comic book movies are afraid to attempt, especially with PG-13 renderings. It was also great to see Sasha Lane getting a big stage presence, as I’ve felt for years that this girl is an eventual Oscar winner in the making.
– Make-up and prosthetics work. It’s amazing that a film with such dominance towards computer generation has a secret weapon thriving underneath it all, in the form of practical character designs that channel everything we love about Hellboy, while establishing that this is a fresh start for the character. The amputated horns are still there, but the facial structure supports more of a slouching outline for Harbour’s take, giving way to an aging process that didn’t feel possible before in the previous two films. In addition, the cheek prosthetics stretching out Harbour’s familiar facial traits is something that allows the actor to transform properly with very little reminder of who is underneath because of the complete picture of it all. It proves that while a lot is lost in translation in the decade-and-a-half since the previous film, the work of some highly skilled cosmetic magicians behind the scenes still pump as the heartbeat of this franchise.
– Coveted R-rating. This is a film that knows its audience. It’s the very same people who grew up with the 2004 film, and are now full-fledged adults, who have since been craving an edgier sequel to compliment the character. It comes in the form of mature material in language and brutal violence that cater to the rock-and-roll lifestyle of the character. The violence and blood splatter satisfied the deep-seeded horror nut inside of me, and the inclusion of some personal favorite curse words improved the bumbling dialogue in a way that made it feel human instead of manufactured. R-ratings in third installments don’t typically work, but I feel that the spike here better elevates the impact of the action, all the while fleshing out the growth of the character that mirrors that of his faithful audience.
– Lifeless computer generation. To say the effects work in this film are bad would be a compliment. No, this is the kind of lifeless digitalization that was present in the 90’s, during a period when that could be forgiven for our complete inexperience with it. This is a film made in 2019, whose backdrops and violence feel about as real as claiming I.T.T Tech for a major college degree. Scenes that are supposed to show Hellboy as a badass are nothing more than a humorous exercise in ridiculousness, and for the majority take much away from the impact of what should be these scenes of visceral devastation. I could forgive a film’s effects for playing into the mayhem transpiring with the film’s other technical deficiencies, but nothing on screen is a pleasure to look at, and I’m simply not going to allow weak post production a pass when it comes to creating a one-of-a-kind feel that is anything out of this world for comic book movie adaptations.
– What narrative? As a story outline, “Hellboy” might be the sloppiest screenplay that I have endured in quite sometime. When the movie isn’t stacking another log on the pile to see what burns with effectiveness, the beatdown of rapid fire sequencing makes it very difficult to accurately interpret what is taking place right in front of us. There is no slow down period to soak everything in. It’s a near two hour long-winded delivery of breath that feels seconds away from fading to black at any moment because of exposition overhaul. I myself am not a fan of the original two Hellboy films by Guillermo Del Toro, but I can say in those movies that there is at least a straight and narrow line of storytelling that keeps us firmly in-tuned with what is transpiring. In this movie, I felt like a child was making up their own version of story time, where no two ideas rub together to feed into a lone cohesive unit.
– Far too long. Marshall’s chapter of Hellboy clocks in at 110 minutes, and while that might not seem like a huge investment for comic book audiences who have endured nearly three hour epics, the combination of forced flashback’s and simply too many big set fight sequences, make the sit an uphill endurance test. For the former, I mentioned this problem in my review of “Fantastic Beasts: The Crimes of Grindelwald”, but here it feels much more padded and unnecessary, especially when the use of audible narration is already telling us everything that transpires visually before us. It’s a strange breed because I feel the film could easily be trimmed, but I think this would only further compromise the cyclonic storytelling, whose speed has us seeing only streaks. I guess you’re simply damned if you do and damned if you don’t.
– Mundane heavy metal score. Composer Benjamin Wallfisch (Real name) has honorable intentions here, but the lack of royalty in track selection dooms his opportunity to make “Hellboy” the rock-and-roll opera that we deserve. With the exception of a couple key inserts, like “Kickstart My Heart” by Motley Crue, the majority is a DVD stock composition that is used when a studio doesn’t want to pay for commercial rights to sample the proper song. There’s even traces of what Wallfisch wanted in each scene, whether it be in the form of familiar metal guitar riffs that borders plagiarizing because of what I previously mentioned. It gives the film an easily identifying trait of cheap production value that doom the art of some eye-catching visuals, and teaches us to pay extra when the scene calls for it.
– Distracted editing. There’s no big surprise here: too many cuts and too little consistency in visual storytelling. In any single sequence of action, you can expect three different angles to watch the same scene, giving me this inescapable feeling of dementia that made me question reality. There’s also this annoying trait, where a scene cuts far too early, and the dialogue from scene one bleeds into the dialogue from scene two. I get artistic expression, but this feels like an unnecessary transition effect that cuts into the focus of the previous scene. Likewise, the editing during scenes of explanation or exposition take a page out of Guy Ritchie’s “King Arthur”, where frames are inserted that don’t add anything to what we’re hearing. For instance, one heartfelt scene between Hellboy and an old acquaintance comes and goes with many visuals of the details in the kitchen that houses them. Filmmaking attention deficit at its finest, and it hinders even the smallest shred of momentum that the audience gains for investing into this story at any particular moment.
– Tonal clashing. If this was a film that was firmly committed to being a cult comedy, then I could forgive it for ridiculous levels of material and production that do it no favors in gaining an audience, but there are deeply dramatic scenes in the film that revolve around love and loss that speak to a totally genre of film, and in turn make the dominant direction in this film feel even more jumbled because of it. The humor in the material is far too juvenile far too often to render the transition needed for some deep-seeded moments of heart that the film calls on late in the movie. In turn, these scenes of dramatic pulse take away everything that everyone was enjoying about the character up to that point, and it all feels like a balance of power behind the scenes from a studio that didn’t know what they truly wanted from this legendary figure. As to where the previous two films were dominant action movies with an occasional speck of dark, twisted humor thrown in for good measure, this installment feels 70% comedy and 30% the occasional speck of drama, and it never worked at finding a comfortable balance for all to enjoy.
– Continuity flaws. This more than conveys the hack-and-slash finished product that we were left with. Consistency in scenes is a constant problem for this film, especially one involving Hellboy and a cocky agent late in the first act that made me do a double take for its documentation. Hellboy and the agent are talking on top of a building, then the scene cuts to the agent taking the elevator to the ground floor to meet another agent, and Hellboy is now there with this secondary character. It’s possible that Hellboy jumped off of the building, but why? What purpose would this even serve? I wish I could say that a scene like this is rare, but it happens frequently throughout, making me wonder just how long the first draft of this film was before the editor removed the threads that binds the continuity together.
My Grade: 3/10 or F+