Holy. F**king. S**t.

Rating: Null/10 (29 April 2002)

Spoiler warning. Could a film be more stripped-down, more efficient, more mind-blowing, more recklessly disregarding of such niceties as plot, character and sense than "Blade II"? Probably. But even so, it's fair to say that in terms of production design, editing, special effects and cinematography, this is the most awe-inspiring film you are likely to see for quite some time. Unfortunately, in terms of script, dialogue and character development, this is on a par with "The Fast and the Furious". But don't let that put you off, for "Blade II" is truly rip-roaring entertainment - a non-stop rollercoaster of insane violence and comic-strip action, held together by two things: Snipes' incredible anti-acting (he just stands there, shooting, or looking mean, or putting on/taking off his sunglasses, and it works) and Guillermo Del Toro's direction. This is by no means Del Toro's finest work, but at least he has the right attitude to this kind of ludicrous entertainment: pull out all the stops, fling everything at the screen, keep the camera moving, dazzle the audience with incredible special effects, and chuck in a few jokes. The evil vampire bastards that Snipes is after in this movie are the most disturbing things I've seen on screen since "Existenz". The first time you see one of their mouths in all its glory will be a moment you won't forget in a hurry. The action sequences are complicated and ludicrous but edited so expertly that you never lose track of who's whacking whom at any given moment. The "House of Pain" sequence in itself should be used as a textbook example of action film-making at its very best. However, "Blade II" fails in its attempts to be anything more than a high-octane, double-barrelled fight-fest. There is little or no sensible interaction between any of the characters. Early in the film "Whistler" slams his gun into the young guy's mouth, surely causing him some serious pain, but this seems to be of no consequence whatsoever in the film's "plot". The twists at the end are perfunctory and of no real interest. There is no emotional bond between Blade and the woman, or between her and her father, or between him and his son. The son, by the way, is played by the Bloke out of Bros. Just one of the many incredible things about this film. The finale sees Blade embracing the woman in the lethal sunlight, trying to keep hold of her as she slowly shatters and crumbles in his arms. It should be affecting, but beyond marvelling at the great computer graphics, it is completely devoid of any emotion whatsoever. Which is a shame, as we know Del Toro's work can be both genuinely thrilling and emotionally involving (see "The Devil's Backbone" for proof).
It's probably unrealistic to expect much from a movie like this, but considering the talent involved, it's a shame that we get a satisfyingly visceral assault on the senses, but nothing more.