He's fireproof; you're not.

Rating: 6/10 (22 March 2019)

The prevailing problem with 'Hellboy (2004)' is that it feels the need to over-explain everything that happens. Whenever something even remotely strange - or, indeed, story-related - occurs, someone will surely say something expository to 'take its edge off'. This, of course, becomes grating after just a short while, especially when most of what's explained is shown on-screen as plain as day and doesn't really need any further analysis. It's a mentality that leads to the piece's other main problem: John Myers. He's the audience's surrogate, supposedly used to ease us into this supernatural world, but he's not really the protagonist that the picture really wants him to be. That's because most of the movie is torn between him and Hellboy, leading to an odd 'back-and-forth' pacing that makes sure neither of them get the screen-time or development they deserve. On top of this, he doesn't really serve his purpose, anyway; his rookie status affords the film a 'free pass' when it comes to blatant exposition, but most of it isn't even delivered via this method. It's weird that he was felt to be necessary as the incredibly long prologue does a decent job of introducing you to the narrative's supernatural elements, as well as its overall tone and, even, Hellboy himself (who's then strangely hidden in his adult form for quite some time). Myers isn't a bad character but he doesn't do anything, really, other than take time away from the more interesting ones. Despite the picture's generally messy nature, it's still a solid effort. One of the main positives that pops out straight away is its special effects prowess. The make-up on both Perlman and (a criminally underused) Jones truly is terrific. Apparently the only parts of the former that are actually visible are his eyelids (even his eyes are covered by demonically yellow contact lenses) and the latter is pretty much completely lost under a layer of impressive prosthetics. In both cases, however, the performances shine through. The piece's practical effects are matched pretty much perfectly with their computer-created counterparts. Of course, some of the completely CGI stuff looks a little rusty on retrospection - especially when the remotely-controlled and quite cumbersome 'right hand of doom' gets a more dexterous digital double - but a lot of it - most of it, even - holds up surprisingly well. The completely digital doubles often look good, which is especially rare, but the flick finds a brilliant balance between the 'real' and the rendered, to the point where the two are difficult to differentiate during some select shots. Another of the movie's highlights, in usual Del Toro fashion, is the way in which the monsters are brought to life with such care and attention. They're treated like proper characters rather than side-shows. Hellboy is, for all intents and purposes, a human, a flawed individual trying to do right by those he loves and deal with his unfair, essentially race-based ostracism. If that isn't relatable, I don't know what is. At its heart, it's a story about a group of outcasts sticking together, relenting against their unfair judgement and - in some cases - initially destructive nature. That's the most interesting stuff but it isn't capitalised on all that well. The feature is messy, as I mentioned, and has about five climaxes but no real denouement. Every line of dialogue also sounds 'monumental', if you will, in that early 2000s way where everything has to sound 'cool'. I wish that someone would say something 'normal', as that would help normalise the strange situations (most of) our characters are supposed to find ordinary and add to a sense of 'realism' - or, at least, help ground the story in a more tangible world. In the end, I feel that the movie manages to overcome most of its issues, even if they definitely impact its overall effect. It's enjoyable but not always as engaging as you'd expect. Still, as I said, it's a solid effort. 6/10