As part of the wave of Mexican filmmakers who have made an indelible mark upon American cinema in the 1990s, director Guillermo del Toro – along with compatriots Alejandro González Iñárritu, and Alfonso Curan – attained a remarkable level of critical and box office success in an environment not conducive to international filmmaking. Unlike his peers, however, del Toro steered away from making art house films about his native Mexico, focusing instead on helming old-fashioned horror movies. Bursting onto the scene with his first effort, “Cronos” (1993), del Toro learned how to deal with
The film starts with a young Hellboy in the 1950s. It's a mildly cute, visually interesting scene that sets up the initial premise while attempting to establish a broad and pointless comedic tone. Sure, Hellboy's mouth doesn't
In 2004, Mike Mignola's G-man demon jumped from the pages of the Dark Horse Comics to the screen. Hellboy had devils, Nazis, firestarters, a resurrected Rasputin, and cats. Lots of cats. It wasn't a monster hit (ha), but sold well