Review: Hellboy II: The Golden Army (2008) *** 1/2
Hellboy II: More than just a comic book movie
Forget about what you know or think you know about the original Hellboy movie. Hellboy II: The Golden Army is something else altogether. If the first was an amusing throwaway twist on a tired genre, the latter is some kind of nerd poetry infused with the joy of images and imagination. It is a jaunty, self-confident film that is light on its feet and above all, it’s highly entertaining.
Being a sequel, Hellboy II is able to dispense with the first film’s origin story in a merciful 60 seconds or so: as an infant demon, Hellboy slipped through a portal between dimensions that the Nazis opened in 1945 hoping to free the seven gods of chaos to help them win the war. Hellboy is fond of candy bars, cigars and kittens. Teamed up with other strange creatures, he now works for the US government fighting paranormal enemies. Got it? Good. Now forget it.
Next, director/co-writer Guillermo del Toro quickly sets up the story at hand: there was an ancient war between humans and magical creatures that ended in a truce. Three pieces of a crown were scattered that, when put together, would unleash an indestructible mechanical army. One of the pieces shows up for auction in modern day New York, chaos ensues and Hellboy is on the job. Got it? Good. Now you can forget that as well.
Why the blasé attitude about the plot? Because the parts of Hellboy II are practically interchangeable with any other film of its kind and they are nearly irrelevant. What counts is that this is a $70 million pipeline to one of the most fertile imaginations working in movies today and the most is made of every dollar spent. The result is an exhilarating ride that neatly straddles a line between horror, strange beauty, comedy, pathos and action. The mythic trappings are just a vessel to contain del Toro’s abundant ideas and here it is full to bursting.
Life in the Hellboy movie universe has not always been grand, however. The original film felt oddly timid. It was as though del Toro’s need to remain true to Mike Mignola’s original comic restrained him and kept his vision from fully flowering. Here, the handcuffs have come off. Del Toro’s creativity is not only unbound, it is unrivaled.
It’s tempting to geek out and spend the whole review ticking off the scenes and ideas and inventions that del Toro comes up with, but the magic is best discovered on its own. It’s impossible to resist a few mentions however, so skip to the next paragraph if you prefer a more pure movie experience. There are the nasty scrabbling and flying and gnawing tooth fairies; the extendable mechanical fist of Wink the giant; the big battle with an enormous but beautiful tree creature - its wounds oozing a green liquid that sprouts moss and green plant life, temporarily turning a busy corner of Manhattan into a peaceful glade; and finally the amazing mechanical Golden Army, each soldier an intricate wonder of moving parts.
The inventiveness of all these scenes is rivaled only by the execution of the spectacular effects work. So often, even the best CGI has an artificial, weightless quality, but here it is believably tactile. The monsters, no matter how fanciful, feel a part of the real world. What’s more, they’re seamlessly blended with prosthetics and live action. Sometimes the CGI only shows itself because you know the effect couldn’t have been pulled off in any other way. It’s a remarkable achievement in bringing the fanciful to life.
Such effects heavy films tend to crush their human actors under the weight of makeup and prosthetics, but as in the first film, del Toro’s cast shine’s through. Ron Perlman returns as the bright red and nearly indestructible Hellboy. Equipped with an outsized stone fist, he’s gruff, abrasive, temperamental, funny and sensitive. Did I mention he loves kittens? He spent most of the first film lovelorn over Selma Blair’s goth Liz Sherman, a pyrokinetic who can summon and control fire. This time around they’re a couple, but naturally there is trouble in paradise.
Also returning is Doug Jones as the graceful, intelligent and erudite Abe Sapien, a creature who is part man and part fish. In the previous film, Jones did the bodywork while Frasier’s David Hyde Pierce provided Abe’s voice. This time, Jones gets to use his own voice and it’s disconcerting at first, but it works.
You might not be able to identify Jones in street clothes, but you’ve probably seen his work before. He was one of the creepy “Gentlemen” in the Emmy nominated Hush episode of Buffy the Vampire Slayer and he played both Pan and the Pale Man with eyes in his hands in del Toro’s Pan’s Labyrinth. Sort of a modern day Boris Karloff, Jones shares that actor’s unique ability to infuse his characters with personality, expression and a soul, largely through gesture. Like Karloff, he puts a new spin on what we think of when we think of acting.
The problem with Hellboy II in the end is one of timing. In the middle of a summer surfeit of action and eye-candy, some of the thrill is diminished. Fun is fun, but it’s time for movies that are a bit more spiritually, emotionally and intellectually fulfilling. That’s not to say that this movie is completely empty. The story does have some meat on its bones and there are a number of themes at play, but they’re almost half-hearted. Del Toro seems almost too aware of his summer responsibilities and he’s afraid of boring the audience. Instead of developing ideas, he’s more interested in jumping from one eye-popping set piece to the next.
The set pieces are something to see, but Hellboy II is a good movie that could’ve been great had it been allowed to go deeper and to be more resonant. Del Toro touches on a number of potentially rich themes that could’ve really given the film a backbone if only they’d been explored and developed. It also would’ve benefited had del Toro plumbed the darker R-rated depths that Pan’s Labyrinth trafficked in. Release it in winter and you’ve got a movie you can really sink your teeth into.
It’s understandable that the movie has been necessarily emasculated to reach its summer audience, but it’s a missed opportunity. Instead of being one of the best movies of the year, Hellboy II: The Golden Army will have to settle for simply being one of the best movies of summer. Perhaps that’s enough after all.
Hellboy II: The Golden Army. USA 2008. Directed by Guillermo del Toro. Screenplay by Guillermo del Toro and Mike Mignola. Cinematography by Guillermo Navarro. Music score composed by Danny Elfman. Starring Ron Perlman, Doug Jones, Selma Blair, Jeffrey Tambor, Anna Walton and Luke Goss. 1 hour 50 minutes. MPAA rated PG-13 for sequences of sci-fi action and violence, and some language. 3.5 stars (out of 5)
Filed under: Reviews
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Can’t wait to see this…too bad I have to wait until September.
I’d agree 110% with this review, Craig. This is likely going to end up being one of the strongest movies of the summer, but may not make my 10 Best for the year (honorable mention, absolutely). A couple times Del Toro’s script touches on some really wonderful possibilities but they tend to get lost in the plot, which isn’t really that important. Thankfully, his fertile imagination and the incredible effects keep it from being a missed opportunity. I do wish though that Del Toro had emphasized those themes a bit more consistently.
(minor spoiler)
You didn’t mention the incredible opening titles sequence, which also plays off an important visual element of the final battle. Although I think Del Toro could have mined those gears for a little more set piece slam-bang visual shock and awe near the end, what he does with it is fairly impressive on its own.
I’d also like to give a shout out to Luke Goss, who is excellent as the lead villain, Prince Nuada. Not only does he handle the physicality of the acting well, there is a genuine pathos to his character arc. I liked him in Blade 2, but here he really gets to do some acting and show some chops. Rarely do villains get to be much more than moustache twisting baddies in these comic book movies, but Nuada has a reasonable argument for destroying humanity.
Doug Jones is also excellent once again in multiple roles. His ability to create subtle physical acting elements under tons of makeup and prosthetics puts him in a rare acting pantheon of greats, from Karloff and Lugosi to Serkis. Good stuff.
It’s somewhat reassuring to read your review Craig and see your thoughts mirror my own nearly beat for beat. Great minds think alike, perhaps? :) I agree fully. The first Hellboy did feel somewhat timid, but this time del Toro is using the red demon as his muse, the perfect foundation to plumb the untold depths of his imagination. This isn’t a comic book movie… it is a del Toro movie that just happens to be about a comic book. In the future it will be remembered for its director rather than its comic book origins. What other superhero franchise comes even close to that? The upcoming Dark Knight might, but it won’t be the director that stamps his mark on it…it will be Ledger.
I wanted to give this one more stars (I settled on 4), but in the end just couldn’t do. The story, as you said, is weak and we’ve seen it all before. It’s not bad, mind you - it just pales in comparison to the inventive visuals surrounding it.
Excellent piece here, Craig. As always, your reviews are my favorite part of your site.
Yes, indeed, Craig’s reviews are definitely the site’s most creative aspect. Oddly enough, I must concur with you and Evan, as to the overall worth of this latest superhero action flick. I predicted Craig with go with 4 out of 5, but he went a bit lower, and I’m happy he did, as the film doesn’t hold up strongly a day after viewing. But it is still a top entry in this increasingly grating genre.
“It’s time for films that are more spiritually, emotionally and intellectually fullfilling.”
That statement, coming half way through Craig’s review is really the crux of the situation. We may have gotten some pedestrian thrills out of HELLBOY II (even I was moderately dazzled by the pyrotechnics on display here, and my kids moreso) but it adds up to little in staying power. We wants films that will inspire us, will move us, and will enlighten us to various levels of meaning, whether it be on a sociological level, a psychological one, or a philosophical one. HELLBOY II of course goes in none of these directions, but settles instead to refine and maximize artistic elements that are restrictive to the genre. In that sense, Del Toro succeeds fairly well.
“Why the “blase” attitude towards the plot?”
Again I say yea to Craig! The plot IS interchangable with so many action movies. In this sense I found nothing to write home about as far as script and acting goes–it’s all conventional.
But there are arresting visuals here in several segments that place the film at a level beyond its predesessor. Throw in a solid score and you have a better-than-average summer entertainment for this kind of film. As Craig concludes: “Perhaps thats enough after all.”
I would probably settle on 2 and one-half of 4, which is about the same ratio as Craig with his five-star system, maybe slightly less.
I’m with everyone here though honestly I suspect my opinon of it is at least marginally lower because I get this feeling I won’t remember much of it 48 hours from now. It has some excellent bits of creativity, and as you good folks say, the film boasts a commendable imagination with some pretty dazzling sequences.
Unfortunately, I do think the plot is a bit rote; I probably shouldn’t “go there,” since I’m not a Hellboy fan like others are–or an X-Men fan, for that matter–but it felt a little cribbed from the general X-Men plotline/moral dilemma (why fight on behalf of humans when the monsters/mutants are more alike with one another, etc.).
“The Dark Knight might, but it won’t be the director who puts his stamp on it…it will be Ledger.” Interesting comment, Evan. Not to turn this into a discussion about The Dark Knight–goodness knows we’ll all be talking about it in just a few days until we all turn blue, or rather black, but I just wanted to say I tentatively disagree (since I haven’t seen The Dark Knight), based solely on Batman Begins, as it more than generously featured Christopher Nolan’s recurring themes and obsessions. Ledger is receiving the lion’s share of the print but the vision behind his performance, like the rest of the film, is largely created by Nolan himself.
Anyway, forget that little tangential bit. This is a stellar review, Craig, and I think you’ve said all that I woudl want to say about Hellboy 2. There’s a lot to like, a lot to enjoy, and you can see Del Toro having a great deal of fun while also “flexing” much more than the pedestrian 2004 Hellboy, but it didn’t add up to that much for me, though it surely was agreeably well-crafted with strong individual moments.
A quick note and then to bed. I agree, Alexander, that it is Nolan dictating the vision behind the films. I just feel that in the years to come, his name will not be widely mentioned in conjunction with the film. Not because he doesn’t deserve it, but because the Bright Lights of both the Batman mythos and Ledger’s performance will outshine him. Then again, we haven’t even seen it yet, so it is likely a fool’s errand (as well as thoroughly stupid) to speculate on it’s future. :) Guess we’ll find out in a few days.
So well said there Alexander…………love the “we’ll talk about THE DARK KNIGHT until we turn blue or rather…..black! LOL.
Yeah, it is losing some residual steam with me as well; this always happens with films that are surface cinematic experiences. As good as it is from a technical standpoint, it just doesn’t have that true emotional resonance. It eclipses THE IRON MAN, THE INCREDIBLE HULK and some other summer fare, but where will it be in November? It won’t even make the runner-up list, methinks. But for now, we’ll give the devil his due so to speak. Compared to the junk that’s out there, it stands tall. But the real stuff is looming closer.
OK, all well and good but to put a finer point on it, how often do any of the big summer movies dent any of our Top Ten Lists? With the notable exception of Pixar’s annual release, summer tends to be a season devoted to “surface, cinematic experiences” and quite honestly, I have no problem with that if done well. What I don’t like about summer is that the vast majority of these movies have no originality, no creativity, little wit, and typically no heart whatsover. Hellboy 2 is short on originality in the story dept, but it has a wealth of creativity, wit, and methinks at least a bit of heart.
I was somewhat disappointed that the story teased us with some broader character bits only to lose them in the narrative, but I still had a very good time in the theater. I’m sorry we didn’t share the same experience.
I think we DID have a good time, and Del Toro is a real talent as we all know. I just think that HELLBOY is getting the brunt of our frustration that we have tired of this kind of fare, even if we know that year in and year out we get films like this and their interminable sequels. After a while it all becomes a big blur. I do agree completely what you say in the first sentence of your final paragraph.
Evan, I look forward to reading your full review. Which I will get to in the morning. Alas, it’s been a long day at the cinema so as soon as I finish up the Watercooler, I’m off to bed.
I was also tempted to go with 4 stars, but ultimately I docked it a bit because it could easily have been better.
Yes Joel, I should’ve included the opening credits, but I think so much came after them that I kind of forgot them. I was also going to include the opening of the gate to where the Golden Army was kept.
So far for me Speed Racer is my runaway favorite “summer” film, followed by WALL-E and Hellboy II. Ironically, Speed wasn’t much deeper than Hellboy, but I saw it earlier in summer. Had I seen Hellboy when I saw Iron Man, who knows if my opinion wouldn’t be different?
Seriously though, come on. That battle with the elemental tree creature thing. Glorious.
Plotwise Alexander I think the film will also fade from my memory, but all of hte images and scenes I’ve mentioned will stick with me and I’m actually probably going to see the movie again just to take them in one more time.
I’ve had no interest in any of the “summer” blockheaders besides the Dark Knight. But reviews from the likes of Craig, Evan, and Daniel make a great case for the value of seeing del Toro’s artistry on the big screen even though the story itself may have little resonance. As for this qualification. Isn’t the point of such films to function as simple entertainments, and in particular to do so viscerally? What does a teenage boy - the prime target audience - want with something that engages the mind and emotions in a deeper way? I know that the rare film within the broad genre can have greater crossover appeal because it can work at different levels. But this is the exception to the rule. Give me a blockheader with an artist of del Toro’s standing any day as the director over a journeyman like Jon Favreau with a big budget and a charismatic lead.
Well, two films of such general type (”summer movies”) made my Top Ten of 2005 just for starters (War of the Worlds and Batman Begins), though that is indeed quite a rarity.
Most summer films tend to veer toward pure escapism, but even unmitigated escapism is going to have some intelligence behind it as a guidng force if it is actually going to work. Completely separating films into artsy/intellectual and potboiler/brainless categories isn’t altogether trustworthy since some “deep shallow” movies made by significant artists are more rewarding than some others that strive to be of a higher class.
Sartre, I must confess, I’ve never heard of the “blockheader” term before. Is that some kind of Kiwi label? :)
That’s a smart ass sartre label. And I agree, escapist entertainment can be filled with artistry and intelligence. The point I’m making is that it’s rare. And this fact is hardly surprising given that greater budgets for the most part produce formulaic entertainment. So I wonder whether Hell Boy’s lack of story resonance is any real surprise.
I valued Batman Begins for Nolan and Bale’s artistry. Hence my interest in the follow-up.
Speed Racer and WALL-E have a shot at my top 10. Both movies were better than normal summer fare and so is HB2.
Frankly Sartre, I find a majority of big studio films to be pretty junky regardless of the time of year. There are exceptions, but the Paramounts and Universals and FOX’s are in the porn business. It’s porn aimed at 13 year olds in the summer and porn aimed at adults in the wintertime. Most of it is lame and it’s up to the mini-majors and arthouse vendors to provide true nourishment. I’ve seen a lot of great movies this summer, but only a couple were major studio releases.
For the record, every diet can use a little junk in small doses. It’s a matter of being choosy.
Completely understood and agree, Sartre, even if I sometimes try to give your words a Kiwi accent to make them more difficult to comprehend. ;)
Hey, no need to add the “smart ass” part, Sartre! I like the term, ahaha…
Definitely true words, Craig. As you pointedly say, the studios are in the continual process of letting their “art-house divisions” carry the load in terms of Oscar-aimed “prestige pictures,” only further bolstering your case.
“It’s porn aimed at 13 year olds in the summer and porn aimed at adults in the wintertime. Most of it is lame and it’s up to the mini-majors and arthouse vendors to provide true nourishment.”
Which is why I have little interest in the big summer releases, though I keep alert for exceptions to the rule. And I agree that most of the big studio winter releases are of unexceptional standard. I actually see very few films in the cinema because I exercise the choosiness you advocate. It’s one of the perks of not writing reviews.
I’m the summer movie grinch :-)
Gotta stop cranking up the music so loud. All summer long I’ve been looking forward to HillBill II.
Though on the strength of another knockout review from Mr. Kennedy, I’m determined to enjoy this alternative.
There’s a new aphorism gaining traction.
Old: “Can the movie be better than the novel?”
New: “Can the movie be more fun than Craig’s review?”
I don’t mind a little summer porn in my diet now and then, to keep my corners rounded and such. If only it weren’t all so typically cookie-cutter.
I’ll grant you Batman Begins was pretty good, except for that wildly uneven third act. I’m just glad we’ve got the origin story out of the way (granted it was the best aspect of Begins and one of the best origin stories in one of these comic book things ever).
Just hoping that it lives up to most of our now heavily weighted expectations.
You can’t spell buttered popcorn without brute cop porn, Ted.
Thanks, sartre. Others like Craig may be the experts here as I haven’t seen the first, but you know I still enjoyed the second.
It’s weird to qualify these “best” summer movies, though? Do we all agree on which movies are blockbusters and indies, and when summer actually is?
Anyway, great review. Let’s see if there’s an Oscar campaign for the visual effects…
Ryan, you think too quickly for this early in the morning.
I can’t take full credit, Craig. My inner savant always operates on his own schedule. He just needs me to do the typing.
I was disappointed in the “Ted” part, until I found this definition:
“…a person as being a Ted means that they are behind the times in terms of their fashion sense,musical taste or general outlook on matters.”
So that worked. Also I find that “ted” is an affectionate abbreviation for “shit head” .
So yeah, the savant will be grinning in self-congratulatory bliss all afternoon.
Honestly though, in these brainy discussions lately, I feel like Linda Blair coming downstairs to the party and getting attention by peeing on the rug.
“Honestly though, in these brainy discussions lately, I feel like Linda Blair coming downstairs to the party and getting attention by peeing on the rug.”
Ahahaha. How about like Isabella Rossellini coming out of the night naked and confused?
Thought HELLBOY 2 was one of the most fertile pieces of staggering visual imagination I’ve seen in long while, and the way Del Toro merges CG and prosthetics should be textbook.
The script was rote and I thought a bit too jokey. I also prefered Tambor in the first one, here he’s too much the stock flustered police chief. But you can’t have enough Perlman.
I’m thinking tho that Del Toro is a fantastic clock maker, and it’s what makes him tick…
I also was a little disappointed in Tambor, but only a little and only because my expectations were so high.
I’m still thinking about some of the imagery. Simply amazing.