BOF's ON-FILM.NET - FILM REVIEW: "HELLBOY II: THE GOLDEN ARMY" by Robert Reineke (7/9/08)::.

RELEASE DATE: July 11, 2008
STUDIO: Universal Pictures
DIRECTOR: Guillermo del Toro
SCREENWRITERS: Guillermo del Toro
CAST: Ron Perlman, Selma Blair, Doug Jones, John Hurt, et al.
OFFICIAL SITE: HELLBOYMOVIE.COM

Guillermo Del Toro, fresh off the success of PAN’S LABYRINTH and just prior to what is a surefire blockbuster in THE HOBBIT, has returned to a smaller franchise HELLBOY and it must be because it means something to him. And it shows in the final product, which is a superior sequel in just about every way.

The plot is pretty straightforward. Elven prince Nuada (Luke Goss) seeks to reunite three pieces of a crown that will give him control of the Golden Army, an army of indestructible automatons that will ruthlessly wipe out the humans, because of humans encroachment and destruction of the forests that were left to the elves in an ancient peace pact. Princess Nuala (Anna Walton) flees with the last piece he needs and is found by the Bureau of Paranormal Research and Defense (B.P.R.D.) who takes her in. And she and Abe Sapien (Doug Jones) fall for each other. Meanwhile Hellboy (Ron Perlman) and Liz Sherman (Selma Blair) are struggling with their relationship. He’s a slob that’s happy to coast along without taking charge of his life. And, to make his life more miserable a by the book ectoplasmic superior Johann Kraus (Seth Macfarlane voicing) is brought in to make him toe the line even more by B.P.R.D. superiors.

That’s the basic plot. What separates the film isn’t the plot but what underlies the plot. The death of fantasy under the encroachment of mankind is a key theme and Del Toro suggests that it’s a real loss. And Hellboy has to confront the part that he’s playing in this when he’s asked to bring down a wondrous plant elemental. What we will do for love is also a key theme and several characters are asked to choose between their love and the greater good. And Hellboy is asked to choose between two worlds, the world of fantasy where he fits in and the world of man where he has emotional connections but where he doesn’t fit in at all.

It’s not all heady stuff as the film balances the subtext with a lot of fun and excitement. Hellboy and friends have to deal with a particularly nasty infestation of “tooth faeries”, fight trolls, fight a plant elemental, duel with Prince Nuada, and confront the mechanized might of the Golden Army. Hellboy will also bond with Abe in one of the funniest scenes of the year where both get drunk and discuss their women problems. And every scene between Hellboy and Kraus is a gem. And the final shot of the film, along with accompanying music, is a true gem.

There’s also a really heartfelt love story at the center of the movie. Removing Agent Meyers from the sequel was one of the best decisions made as it makes Hellboy the audience identification figure and puts him at the center of the film instead of being viewed through another character. And it pays off here in a big way as there’s nothing getting in the way of Ron Perlman and Selma Blair interacting. They may not always get along but they can’t stop thinking about the other and what they’re willing to sacrifice when put to the test. Selma Blair in particular benefits from the sequel as she’s allowed to be assertive and decisive.

Budget-wise, this is one of the smallest movies of the Summer. But you wouldn’t know it from watching the film which is a visual treat from beginning to end. One of the smartest things Del Toro does is know when photorealistic CGI just isn’t necessary. A storybook introduction to the story doesn’t need to be rendered like LORD OF THE RINGS when it can be rendered like a storybook. Del Toro creates a Troll Market hidden under New York not through overuse of CGI but through practical sets, makeup and prosthetics, and a wonderful attention to detail and character. We identify with Hellboy in a way we just can’t with the CGI Hulk. The Troll Market scene will draw comparisons to the Cantina scene in STAR WARS and it rightly can stand beside it. There’s so much imagination on display that we’re invited to add our own imagination to suspend our disbelief. We’re reminded of the pleasures of the reality of wonderfully designed actors in suits and makeup. And when the movie calls for CGI, like the wonderful plant elemental and the Golden Army come to life, Del Toro lets loose with it. Del Toro loves his monsters, and there are several classic clips from Universal’s film catalog scattered through the film, and he invites us to share that love.

There’s really not much wrong with the movie. The villain conveniently forgets to press his advantage at times. There’s some “red shirt syndrome” involving the regular members of the B.P.R.D. And the latter portion of the film is mostly a string of action sequences, albeit interrupted by two of the best scenes of the year -- Abe and Hellboy getting drunk and Liz and the Angel of Death.

Minor flaws in the big scheme of things. Especially in a film bursting with imagination. Fantasy may be under attack in the film, but Del Toro shows why it’s still a vital in cinema