Visually breathtaking, Hellboy II is essentially director Guillermo del Toro’s Star Wars. Minus the space travel, Hellboy is Han Solo, full of wit and sarcasm, and longing for adventure and romance. His area of uniqueness is solely in the humor that surrounds and drives many of the story’s elements; sadly Hellboy’s design is perhaps the least creative aspect of the film. This second chapter adds more oddities and monstrosities than ever before and enthralls with practical creature effects where possible, and stunning computer animation everywhere in between. But the legends and myths Grand Guignol still lacks what the first film did - it is a banquet of visual delights, but when the feast is over, we’re still conspicuously empty.

Legend tells of an unstoppable army of golden automatons that were used in the wars between the spiritual world and humans. A truce was struck that allowed humans to frequent the cities, and the trolls, elves, fairies and other mythical creatures to inhabit the forests. The golden army was locked away, to lie dormant for all time. But a crown was forged that controlled the mechanical army, and although split into three parts to ensure its safekeeping, it has become the target for nefarious masterminds.

Not content with his people hiding away from the humans, Prince Nuada (Luke Goss) seeks out the fragments of the crown to regain control of the golden army. His intent is to destroy humankind so that the creatures of the occult can walk freely through the streets. But the Bureau of Paranormal Research and Defense, led by the crimson demon abomination Hellboy (Ron Perlman), isn’t about to let that happen. Joined by fellow BPRD agents, including the pyrokinetic Liz Sherman (Selma Blair), aquatic empath Abraham Sapien (Doug Jones) and protoplasmic wizard Johann Krauss (Seth McFarlane), the always cocky, wisecracking Hellboy is destined to throw a wrench into the schemes of Nuada. But will it be enough to save the very world that fears the likes of Hellboy?

Our rubicund protagonist is tormented with the idea of defending a civilization that will never understand him. As with most superheroes, the antagonists are oftentimes the humans that naturally fear the abnormal (or paranormal). To combat his inner conflictions, he dwells on cynicism and contempt for his superiors, who are unable to control his flaring temper. The humor in the film is the defining point of singularity for Hellboy’s blueprint; this much comedy is rarely seen in an alien-heavy superhero movie, let alone a comic book adaptation (although the BPRD is rapidly turning into the MIB). While most take great care to convey every science fiction constituent as seriously as possible, Hellboy relishes in the ability to create awkward, laugh-inducing situations.

There’s still too much posing for the camera from all of the main characters (villains especially), but the introduction of dozens of new fantastical deviations drowns out the typical overdose of heroic photo stances. The Troll Market is del Toro’s Mos Eisley Cantina, and serves to give audiences a glimpse at the creative geniuses behind the character designs. Crafted almost entirely with practical effects, the swarm of humorously preternatural monsters could lead to infinite derivative storylines, provided Hellboy acquires the same following as Star Wars. Too bad the chief antagonist is the most boring new character in the film.

The action is still great, the creativity is on hyperspeed, but the story couldn’t be less generic. Centuries-old evil awakening to battle Earth is not a new idea, but visually del Toro still makes it august. Taking the easy way out on unsolvable predicaments, getting a bit thick on the romance, and always going for laughs or visuals over sensibility, Hellboy II: The Golden Army can’t quite seem to heat things up.

- The Massie Twins

Read the review of Hellboy HERE!