When it comes to adapting comic book properties for the silver screen, audiences have earned the right to be concerned.
These days it’s not just a question of whether the movie can capture the comic’s essence. Even more challenging is creating a finished product that appeals to fans and general audiences without insulting either.
Guillermo del Toro’s 2004 adaptation of Mike Mignola’s Hellboy stands as a rare comic-to-film translation that honors the source material while embodying the director’s vision.
What makes this such a successful adaptation is its ability to capture the comics’ dark atmosphere without losing the fun and adventure. Del Toro’s keen eye fills each frame with intricate details. And the Gothic aesthetic perfectly complements Mignola’s art.
One of Hellboy’s key strengths is its ability to juggle different tones and genres without coming off as disjointed. The film seamlessly transitions from horror to action to comedy and back, without ever losing sight of the characters or the stakes at play.
This impressive consistency is due to del Toro’s expert direction, which balances the film’s various elements and keeps the pacing tight throughout.
The proof of the pudding is in the eating. Not only did del Toro’s Hellboy receive critical acclaim upon release, it has since become a cult classic beloved by fans and newcomers.
Hellboy tells the story of a demon summoned to Earth during World War II in a Thule Society ritual gone awry. Raised by Professor Trevor “Broom” Bruttenholm – who, in a scene that wouldn’t be allowed these days, professes Catholicism – the red-skinned, stone-armed creature instead becomes a defender of humanity.
Fast forward to 2004. Hellboy works for the Bureau for Paranormal Research and Defense, fighting preternatural threats alongside the amphibious empath Abe Sapien and pyrokinetic Liz Sherman.
At the heart of Hellboy‘s success is its titular character, brought to life by Ron Perlman’s masterful performance.
Known for his powerful on-screen presence, Perlman’s portrayal of the horned hero is nothing short of iconic. He captures Hellboy’s gruff exterior and wry sense of humor. But he also imbues the character with a touch of vulnerability that make him feel three-dimensional.
The title character could easily have turned out one-dimensional in lesser hands. But Perlman manages to infuse a demon with genuine humanity. No mean feat.
High praise also goes to Doug Jones and David Hyde Pierce, who provide Abe’s physical and vocal performances, respectively.
And Pierce is such a class act that he refused accolades for his voice work, crediting the refined yet affable portrayal to Jones alone.
But the performances are just where Hellboy’s excellence starts.
The film’s visuals are stunning. That’s a rare compliment in the digital age. But from its detailed makeup and prosthetics to its elaborate sets and costumes, the movie create a world that feels otherworldly yet grounded in reality.
That’s how you know you’re watching a Guillermo del Toro movie.
And it’s thanks to del Toro’s insistence on prioritizing practical effects that Hellboy’s visuals hold up 20 years later.
Nor is del Toro stingy with his gifts. We’re treated to a standout sequence One of stands right at the opening. The scene with American and German soldiers fighting over an arcane device as sorcerers use it to open a hell portal is a masterclass in visual storytelling.
Bonus points for the sound, including minimal dialogue and the haunting score, which sets the stage for Hellboy’s arrival. The sequence sets the tone for the rest of the movie, establishing the world and its characters in an efficient way that resonates emotionally.
But while Hellboy is a feast for the eyes, it doesn’t forget the heart. The father-son relationship betwee Professor Broom and Hellboy forms the emotional core of the film. John Hurt brings warmth and gravitas to the Professor that gets the viewer on Broom and Hellboy’s side from their first scene.
The film’s themes of family, identity, and yes, faith, are all explored through the lens of Hellboy’s struggle to belong, with results as moving as they are thrilling.
Of course, no discussion of Hellboy would be complete without mentioning its villains. Grigori Rasputin – imagined here as a Lovecraftian wizard – and his followers make formidable and memorable antagonists.
Roden’s Rasputin projects a cold menace that makes him a terrifying foil for Hellboy.
But even the otherworldly hypermage Rasputin is upstaged by occultist, clockwork ninja, and Hitler’s top guy, Colonel Dr. Karl Ruprect Kroenen.
From the second we see this guy stick his hand into a giant whirling gyroscope without flinching, he projects palpable fear in every scene he’s in.
Despite having zero dialogue.
Except one chuckle that’s among the most unnerving in recent cinema history.
The action in Hellboy is also top-notch. Del Toro’s eye for detail and sense of pacing make each set piece feel engaging and necessary. From Hellboy’s first confrontation with the monstrous Sammael to the unabashedly Lovecraftian finale, the visceral action stays pitch perfect.
But not because it’s nonstop. Del Toro understands that keeping dramatic tension piano wire-tight throughout an entire movie is exhausting. So he gives us just enough character moments and comic relief to stave off fatigue.
And while the film doesn’t shy away from violence, it never feels gratuitous. Each fight advances the plot and deepens the characters.
That is the difference between action and mere violence. And del Toro hits the sweet spot.
In the end, what makes Hellboy a near-perfect movie is its ability to balance spectacle and emotion. It’s full of stunning visuals and rollercoaster action, but it never loses sight of its characters and their goals. The result is a thrill ride and a heartfelt exploration of what it means to be human.
Using a demon protagonist.
Only Milton does it better.
Overall, Hellboy meets the gold standard for comic book movie adaptations. It captures the heart of the source material while standing on its own as a fun, complete movie that’s almost perfect.
Almost.
The relationships between the movie’s main characters – even the fish-out-of-water Agent Myers – stand out as complex and compelling. You get filial, fraternal, and paternal love, and even a mentor-protege dynamic.
Where the character interactions fall short is in the romance department.
Hate to say it, but Selma Blair’s Liz Sherman strikes a discordant note. Her chemistry with Hellboy comes off as more of an informed attribute than a real romantic bond.
And while her character has high competence and is well-liked by other characters, those sliders aren’t set quite high enough to compensate for her rather grating demeanor.
Every time I watch Hellboy, I get the sneaking suspicion that Blair would rather be in another movie.
Her performance errs on the side of mistaking grumpiness for a personality.
Scenes with Liz just aren’t as much fun. Despite being a fire starter, she throws cold water on the proceedings.
It’s not a deal-breaker, though. Because she’s not in the movie that much.
Which is why I still give Hellboy (2004) a high recommend.
Go watch it
And for a journey through hell that’s just as thrilling, but with space pirates, read my debut horror-adventure novel:
