Realização:
Neil MarshallArgumento:
Andrew CosbyCâmara:
Lorenzo SenatoreMúsica:
Benjamin WallfischElenco:
David Harbour, Milla Jovovich, Ian McShane, Sasha Lane, Daniel Dae Kim, Thomas Haden Church, Penelope Mitchell, Sophie Okonedo, Brian Gleeson (mais)Sinopses(1)
Hellboy está de volta e está em brasa. Saída das páginas da obra seminal de Mike Mignola, esta história repleta de ação mostra-nos o lendário super-herói e semi-demónio (David Harbour, de Stranger Things) a ser chamado a uma zona rural inglesa para combater um trio de gigantes enfurecidos. Aí, ele descobre a Rainha de Sangue, Nimue (Milla Jovovich, da saga Resident Evil), uma antiga feiticeira ressuscitada, sedenta de vingar uma traição do passado. Subitamente preso num confronto entre o sobrenatural e o humano, Hellboy está agora apostado em deter Nimue sem desencadear o fim do mundo. (NOS Lusomundo Audiovisuais)
(mais)Vídeos (9)
Críticas (11)
Harbour é bom, com as linhas certas. Gigantes expulsos do inferno no final talvez o mais impressionante de sempre. O elenco de Milla Jovovich define adequadamente o alvo de público dos fãs de freak-shows monstruosas sangrentas de filmes B. A imaginação de Neil Marshall é ilimitada, tal como a sua coragem (ou falta de sentido?) para deitar um orçamento tão grande pelo cano abaixo. O seu Hellboy diverte com as suas parvoíces, o seu exagero e a sua loucura, mas vê-lo no cinema sentiu-se extremamente despropositado, mesmo bizarro. Com o pessoal certo em casa, com cerveja e pipocas, poderia ter atingido 3*.
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In some aspects, Hellboy has pretty decent balls. Unfortunately, not even the exploited to the marrow R-rating and the good jokes here and there can alter the fact that it looks uglier than shit. Really, it’s been a long time since I last saw an audiovisual work that looked so terribly unaesthetic. An awful, overelaborated digital mess; the cancer of modern filmmaking and, in this case, in the terminal stage.
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The new Hellboy flopped at the box office and with critics, and I'm not too happy either. Neil Marshall may have made the solid The Descent and the perfect post-apocalyptic B-movie Doomsday, but Hellboy won't rank among the highlights of his career. There's no story, which is to be expected, but the weird nonsensical jumping from scene to scene felt annoying to the point of artificiality. David Harbour isn't downright bad, but the humour is so dry that I didn't laugh once, which I take as a huge minus. When it comes to the action, it's pretty good to watch, it's very substantial in terms of gore – I can't remember the last time I saw such carnage in the cinema – but it's a great shame things usually end up when they are at their best. Praise should be given to the scene with the giants (which could have been longer), Baba Yaga who had eerily perfect make up, and the finale, which is again too short and doesn't live up to its full potential. It's a shame that outside of the action, the film is rather boring and has nothing to surprise and impress. Thanks to the decent serving of gore and a fair amount of monsters of all kinds, the film is watchable, but I was expecting a more entertaining ride. 60%
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The new Hellboy goes uncompromisingly its own way, and the question is, will you like it? Fans of the comics will find a lot of familiar things and maybe they will be willing to forgive Hellboy for moving forward at too high a speed, for the way it neglects character work and for taking a step backwards in terms of filmmaking compared to what Ron Perlman and Guillermo del Toro did years ago. But if you haven’t read Mike Mignola's comics, you're probably better off waiting for Avengers. This Hellboy doesn't have much to offer.
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Though it stays closer to the source material, it is still not a good adaptation. It does not automatically create a film for fans when you combine multiple plotlines from multiple comic books, and I would give anything to have seen Guillermo del Toro's planned conclusion to the trilogy instead of this cluttered outcome. Even though Daniel Dae Kim is appropriately cast as Hellboy in this world of blood, betrayal, and endless fighting, excessive cheesiness or intentional B-movie qualities are not an advantage in this case, but instead a painful burden. From the very beginning, the screenplay relies on necessary shortcuts, thus undermining itself right from the start when it launches three storylines simultaneously and fails to completely extricate itself from this unfavorable starting position until the end. It is a shame about the strangely artificial masks and occasionally bizarre special effects, which often border on the ridiculous. And last but not least, there is the disgraceful and increasingly common posture of using not only blood but also profanity at any cost to achieve a stricter rating. In the second half, it became so childish that I almost grimaced, even though I am always in favor of boldly subverting an overly tense atmosphere. I feel sad about the resulting dead end, as Hellboy: Rise of the Blood Queen could and should have been an example of how to navigate the path of slightly smaller adaptations of famous comics, instead of closing the door on many potential wonders.
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