We would love to start this text in a more traditional way and go directly to enumerate the many virtues that, despite everything, have made us enjoy from start to finish the shameless, self-conscious and hilarious two hours of the new adaptation of 'Hellboy', the fantastic comic by Mike Mignola, captained on this occasion by a genre artisan of the likes of Neil Marshall.
Instead, we are obliged to start, not with little regret, highlighting the fact that the version of the film we could see and that will officially reach our cinemas will be the censored one; a commercial maneuver that deprives the vision of both Marshall and Mignola himself of that explicit and wild violence that, more than a simple addition, is an indispensable element within his genetic code.
Perhaps the most painful effect of this decision, beyond offering a 'Hellboy' mutilated mercilessly and deprived from part of its essence - the tape remains, to some extent, quite brown - is that it not only influences the content , but affects its form; being scissoring in its footage, showing abrupt cuts, poor transitions and specific moments in which there is a sense of discontinuity due to holes in the assembly that the brain tries to fill unconsciously.
It is a pity that we do not get to see the feature on the big screen as it was conceived, because 'Hellboy', in an era in which blockbusters, adaptations of comics and superheroes obey the prudent formulas of the great studios to capture the the largest possible audience with bleached products to the absurd — how ironic — spits these conventions with disdain, freedom and bad milk that, on the other hand, does not need liters of blood and viscera to be perceptible to one hundred percent.
If it had been released under its complete form, rated R in the United States, it could be speaking without any kind of repairs in a new cult tape, beaten, as it happened with the glorious 'Dredd' by certain sectors - in this most desirable case - of the public and international critics, but destined to occupy a special place on the shelves of lovers of the best genre. A rare avis whose greatest enemy is the cinematic past of its protagonist demon.
You have to completely forget the refined — and, still, esteemed — Guillermo del Toro's approach to the character, because Neil Marshall has put on the table a rough — in the good sense of the word — antithesis to them, built in the form of a cocktail of horror, action and comedy without filters in which the most varied assortment of grotesque creatures parade between chascarrillos and macarradas several that seem children of another time.
Briton, faithfully embracing several of the most memorable arches of the comic like 'The Wild Hunt', once again shows his good hand for terror, creating atmospheres like in 'The Descent', providing an excessive and complex-free show like that of 'Doomsday' and returning that genius to the monster movies that worked so well in the great 'Dog Soldiers'.
Unfortunately, it is inevitable that all the praises that can be poured on the new 'Hellboy', starring, everything is said, by a splendid David Harbor and that seems to fully understand the nature of his character and the production, are overshadowed by some cuts which will prevent the public from fully enjoying a consistent length in their relationship between form and substance. And this, in these times, only confirms that cinema continues to die as a free means to establish itself as a sterile industry.
Looking beyond all this, it is only necessary to take off the hat before the bet of Lionsgate and wish that the original cut of 'Hellboy' ends up arriving at our lands to be able to appreciate its many successes properly.