Guillermo del Toro’s Hellboy implements countless impressive ideas, including seamless computer graphics fused with animatronics and puppeteers, ingenious character designs and fascinating monstrosities. But for all of its undeniable visual flair, the film weakens due to sore-thumb dialogue and a regimen of predictable plot devices; as well as too many unlikely conveniences and the ever-popular need for heroes and villains to strike a lengthy poster-perfect pose before and after every action sequence.

During World War II, Rasputin (Karl Roden) aids the Nazis in opening up a portal to another world, which is abruptly shut when U.S. forces grenade the operation. Although Rasputin is destroyed, a tiny red creature is left behind on Earth to be raised by Professor Broom (John Hurt). Dubbed Hellboy, the demon soon grows into a powerful crime-fighter intent on keeping extra terrestrial baddies at bay.

Hellboy (Ron Perlman) is not alone, and is joined by Abe Sapien (Doug Jones), an amphibious creature that possesses incredible knowledge. Elizabeth Sherman (Selma Blair) also has super powers, although her pyrokinetic firestarter abilities are much harder to control. Together the group works for the Bureau of Paranormal Research and Defense (BPRD), constantly and covertly cleaning up the messes left by alien life forms and resurrected enemies from the past.

The action sequences are all fast-paced, expertly choreographed, and arrive just in time to speed up the story when things get too convoluted or unexplainable. Seamlessly blending computer animated models of Hellboy, Sammael, Abe Sapien and many others with practical effects, the film achieves a startlingly realistic look. Like James Cameron’s Aliens, the various monsters have a rubbery, tangible appearance, slaver real slime and appear to be actors in costumes more often than not. And this is a good thing, because it peerlessly prevents visual annoyances like those found in most major fantasy films in which Spider-men effortlessly swing from concrete jungle rooftops and hulking green men float through vast canyons.

A stepping stone to del Toro’s next visual masterpiece (Pan’s Labyrinth), Hellboy utilizes many unquestionably unique character designs and concepts. From Kroenen’s hideously scarred visage (and his skill with bladed weapons, though not as cool as V from V For Vendetta), to Sammael’s lumbering cartilaginous figure, to Abe Sapien’s twitching webbed hands, the oddities speak wonders for both the makeup crew and original comic book creator Mike Mignola. Along with these bizarre concepts are idiosyncrasies and affecting personalities bestowed on every human and monster, which allows for more personable and relatable qualities from such inhuman concoctions as a giant crimson-skinned demon. The charisma of Hellboy (ample amounts of credit goes to Ron Perlman) and his wide array of emotions make the human liaison to the audience John Meyers (Rupert Evans) nearly obsolete. The set designs are also fascinating and numerous, from snowy graveyards to steaming sewers to a booby-trapped underground labyrinth.

Hellboy deserves credit for its innovative approach to visuals in a comic book adaptation, but loses points for noticeably trite dialogue from many of the supporting characters. The plot is also disappointing with its convoluted legend and prophecy jargon and otherworldly nonsense which simply doesn’t do justice to the awesome characters battling across the screen. The fun somehow eludes the ruddy Hellboy, despite all of the action, comedy, violence, destruction, mayhem, romance and special effects.

- Mike Massie

Read the review of Hellboy II: The Golden Army HERE!