The result is unfortunately catastrophic. The incessant action scenes are worthy of video games from the time of the first Playstation, while the special effects are laughable.
This is the second year in a row that Guillermo del Toro’s work has been dragged through the mud. After the insignificant aftermath of Pacific Rim, time for Hellboy’s dismal restart.
We had not heard from this powerful red monster since the satisfying fort The Golden Army. That was in 2008, the same year that Iron Man was going to forever change the movie landscape of superheroes. A decade later, he rose from the ashes… and he has changed.
Now embodied by David Harbour who undeniably possesses the physical of the job, this reboot does not so much return on the origins of the main character – this has already been done in the original Hellboy – that it proposes a new adventure where it will be a question, obviously, of avoiding the destruction of the planet. Even if inspired by different episodes of the popular comic book, the plot remains the same.
This time, the whimsical and poetic elements remained in the dressing room. Rather, Andrew Cosby’s scenario has focused on violence, brutality, darkness and even horror.A more “adult” idea that defends itself and contrasts with the often-nice work of Marvel and DC Comics.
The result is unfortunately catastrophic. The incessant action scenes are worthy of video games from the time of the first Playstation, while the special effects are laughable. But nothing to amuse like Deadpool did so well.The attempts at humour are so numerous and ineffective that they end up weighing on the patience of the spectator.
This feeling of being constantly enslaved by so much stimulus is also reflected in the script, as rough as that of Suicide Squad.There are plenty of friendly or enemy entities that appear anywhere in history, without making sense. An indigestible father/son relationship is a pretext for morality and good feelings, while ridiculous temporal ellipses destroy the little coherence that remained.
It’s hard to be more disorderly. And what a (bad) surprise to learn that Neil Marshall is in charge! The same man who gave The Descent one of the scariest suspenses of the century. In fact, his Hellboy failed where his very entertaining Doomsday came to life. The combination of genres, styles and tones is a delicate mixture, which eventually explodes in your face during a bad dosage.
One wonders if the English filmmaker did not deliberately sabotage his own film. Within one of the many misused themes, our hero hesitates between listening to his inner beast or continuing to follow human rules. Marshall and Cosboy opted to free the demon from his Pandora’s box, deliberately highlighting the most cacophonic and vulgar of these too often interchangeable blockbusters that appear almost every week. A metaphor for the steamroller that could very well be found in one of the circles of the Inferno of Dante’s Divine Comedy.
This does not make this Hellboy more bearable. Although virtually endless, this nightmare will be quickly forgotten as soon as Avengers: Endgame is released. But Guillermo del Toro should learn to protect his legacy. Otherwise we’ll end up with suites from Pan’s Labyrinth, The Shape of Water and even The Devil’s Spine!