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Melanie Munk, Features Editor
munk@heraldnet.com |
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Published: Friday, July 11, 2008
Superhero sequel 'Hellboy II' filled with crazy visuals
By Robert Horton Herald Movie Critic
The first "Hellboy" movie was exactly right as an under-the-radar superhero movie: It emphasized character over effects, it used humor in liberal doses without selling out its dramatic story line, and it burst into occasional visual splendor thanks to its imaginative director, Guillermo del Toro.
After that 2005 film, del Toro scored an Oscar-winning success with "Pan's Labyrinth," and his sequel, "Hellboy II: The Golden Army," looks like the work of a filmmaker unleashed. This movie has even more fantastical creatures and wild designs.
It's also got more story (del Toro kicked up the idea with "Hellboy" comic-book creator Mike Mignola). More, perhaps, than the director knows what to do with.
We don't waste much time on exposition. But there is a flashback to Hellboy's youth, as he listens to a fairy tale read by his minder (John Hurt, doing cameo duty).
Then it's back to the adult Hellboy, still reluctantly working as a government agent -- and played again by Ron Perlman, the actor whose interestingly sculpted face has never known fear of latex.
In case you've forgotten, Hellboy is red, grouchy and almost indestructible. His horns have been sawed off to a manageable level, and his mighty right hand is potent enough to knock villains across the room.
He's still pals with watery creature Abe Sapien (Doug Jones), and still romantic with firestarter Liz (Selma Blair). They must battle a prince (Luke Goss) who seeks to break a millennium-old pact between humans and the fairy folk.
Perlman ruled the first "Hellboy," but here the new characters and the democratic inclusion of story lines for Abe and Liz leave him somewhat on the sidelines. And del Toro, whose narrative coherence hasn't always kept pace with his wonderful visions, goes on a variety of fishing expeditions in the first half of the picture -- some of them fun, some of them just kind of weird.
The good stuff kicks in when the focus narrows in the final third. Maybe it's the drunken male bonding scene between Hellboy and Abe, or the inclusion of a certain Barry Manilow song on the soundtrack, but the movie takes flight and maintains its crazy energy through the end.
Given the prominent placement of a dire prediction about Hellboy, del Toro must be planning a third installment. Squeezing it in around his assignment on "The Hobbit" might be difficult, but well worth anticipating.
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