Hell, not the chaotic, repetitive, Hard-R Hellboy: NPR



Aw, shit: David Harbor stars in the 2019 restart of Hellboy

Mark Rogers / Lionsgate


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Mark Rogers / Lionsgate

Aw, shit: David Harbor stars in the 2019 restart of Hellboy

Mark Rogers / Lionsgate

Hellboy despite its title without colon, it is actually the fifth film starring the good-natured demon hero (if you count the two animated films that presented the same cast as the live action films made by the author of Monsteur, Guillermo del Toro, in 2004 and 2008) and it is even more exhausting than this phrase.

Pity. The blue-collar, crimson-skinned agent of the Paranormal Investigation and Defense Office, basically a more inclusive version of Men in Black, with a more casual dress code, is a wonderful character on the page. And because the Toro filmmaker has at least as much affection for serial series and monster movies of the 1930s as for European folklore than the cartoonist Mike Mignola (creator of Hellboy), his two adaptations of the comics of Mignola were venerated. But like most Toro films, they were only moderate blockbusters, and the lucrative profitability of Marvel films in the next decade (Hellboy is a creators' intellectual property specimen, outside the Disney megalith) demanded that someone would try to take advantage of that rich vein. again.

Creepy puppets, slow pace in the & # 39; Catechism & # 39;

In & # 39; Hellboy & # 39 ;, a supernatural attack with soul

The Englishman Neil Marshall seems to be an excellent candidate: he made a trio of successful low-budget genre films and directed two episodes of Game of Thrones, including "Blackwater", which presented the climactic battle of the second season of the series. The chaotic and repetitive film that has given us here doubts not only his competition but also his taste. He has emphasized the warmth that the Bull brought to the material and amplified the resistance of the limbs and especially Piercing the eyes a hundred times. This is clearly a calculated decision; With most comic book films that adhere to PG-13 genocide levels, all this cartilage and viscera has at least one chance to make Hellboy & # 39; 19 feel different But the blood is too indiscriminately displayed to provoke anything other than boring repulsion, which does not offer a sense of threat or comic punctuation, as it does in, say, the Evil Dead films.

Flying entrails are not the only element that feels intrepid. Marshall scores most of his big sets with selections similar to ersatz blooze-rock. (The last one uses the theme of Mocktle Crüe from 1989, "Kickstart My Heart", I guess we save the best for last). Apparently he directed the star David Harbor, replacing Ron Perlman as the demon with the red and extremely rocky right hand, to lengthen his line readings as Breaking point-I was Keanu Reeves whenever I wanted to convey irritation, which is most of the time. Maybe the actor is just trying to be heard under all that monster makeup. Harbor, a pleasantly idiosyncratic interpreter in Strange things and in the Bond movie Quantum of Solace, he does not have the long-standing talent of Perlman to convey complex emotions through latex.

The rest of the cast is fine. His greatest benefit is Ian McShane, condemned for all eternity to lend his profane tenor to things that are not as good as Old thing, who plays Trevor Bruttenholm, the grumpy paranormal scholar who found the demon baby Hellboy in 1944 and raised him as his own son. (There is a line of dialogue about some kind of spell that causes both characters to age slowly). Milla Jovovich plays a witch who was dismembered and buried in several different coffins by King Arthur, only to rise again in the 21st century to achieve Armageddon. … copulating with Hellboy, I think. If Jovovich was on the set at the same time as the other actors, he does not feel that way. Daniel Dae Kim replaced Ed Skrein as special forces soldier and Jaguar Ben Daimo, a character from Japanese-American extraction, during pre-production, after bleaching complaints. The Texan Sasha Lane plays the BPRD agent Alice Monaghan, whom Hellboy rescued from the kidnapping by malevolent fairies when she was just a baby. There is an attempt to give the later two a team spirit with Hellboy, but the film never stops long enough between monster battles for any of its characters to work. We have to hurry and get to the destruction of London, and then to the destruction of London. Everything feels weightless and reversible, which makes it feel infinite.

Some of the most memorable of Mignola. Hellboy the stories have been brief, like "The Corpse", which presented the rescue of the little Alice that is shown in a flashback in the new movie, so it is appropriate, I suppose, that this movie shows exactly two great sequences that could be carved and presented as shorts. In one of them, Hellboy consults Baba Yaga, a rotten witch, similar to a crab, who lives in a house mounted on giant ostrich legs. His address is the most striking image of the film, but the tactile appearance of Baba Yaga and the supernatural way of sneaking around the frame also stayed with me. And the reintroduction of Hellboy, where he must recover a fugitive BPRD agent from a sports site in Tijuana where his objective is participating in a wrestling match, play as an open cold from a Bond movie, an ingenious and self-conscious sequence that sets the tempo that the remaining 105 minutes of the film can not meet.

Much of the appeal of Mignola comics lies in his angled style of heavy ink, which in addition to conjuring up humor and atmosphere, makes twisted things less disgusting. (Other artists who have drawn the character, such as Duncan Fegredo, have followed the example of Mignola). The representation of all this in photorealistic CGI does not necessarily add value. If we have to have more Hellboy movies and Del Toro is not going to do them, maybe they should be filmed in black and white.


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