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With the reboot of "Hellboy" all from the very beginning was not thank God. At first, the studio did rather ugly with Guillermo del Toro: the director did not give up hope of finishing his trilogy, conducted polls among fans, made appointments with Ron Perlman and the producers, and then it turned out that behind his back they had already decided to restart. Moreover, the creator of the character, Mike Mignola, played an important role in this. Well, as they say, the owner is a master. They promised to make the new version a dark horror, closer in spirit to the original source than del Toro's good-natured tales. But the script leaked to the network crossed out all the statements of the creators: for some reason, the same comedy thriller appeared there, only with a different set of heroes and an even more clichéd plot. Then there was a test show, in which, according to insiders, the focus group almost spat at the screen. The first trailer also did not particularly impress anyone, and only the second, with blood, abuse and the most famous Deep Purple son Babies & Kids goods in Ethiopia g, attracted at least some attention to the project. And now, after all the ordeals, "Hellboy" finally found himself on the screens - only he fights back not from monsters, but from angry film critics. Dark Ages. The powerful witch Nimue sends a plague to Britain so that evil spirits of all stripes finally throw off the yoke of vile people. But the sorceress is stopped by King Arthur: he dismembers her with Excalibur and orders to bury her remains in the most protected corners of Foggy Albion. Of course, centuries later, someone is trying to piece together the Blood Queen and re-initiate the Apocalypse. Only one who does not even belong to it can prevent the extinction of the human race: a red-skinned demon nicknamed Hellboy. The design of the monsters is one of the main advantages of the new "Hellboy". Although it is clear that there was simply not enough budget for a worthy implementation of some ideas. The main feature of the new film adaptation should have been canonicity - this is in vogue today. In the 2000s, it was possible to reshape the source code beyond recognition, and no one, except for especially zealous fans, would say a word, but today comics are mainstream. If you cram in references and quotes, there is a chance that geeks will think that you are on the same wavelength with them, and will be more loyal, even if the picture has a lot of problems. In part because of this, Batman v Superman has a reputation for being a misunderstood movie for "insiders." In "Hellboy" loyalty to the original source is expressed mainly in the fact that you are just bombarded with the details of mythology along the way. Flashback on the left, exposition on the right, names, titles ... An untrained viewer can easily be knocked down by such a flow of information. The only way out is not to ask questions and take all the strange details and moves for granted. Nobody will explain anything to you in more detail - go read the comics. The complex relationship of Red with the named father, apparently, should have become the leitmotif of the film. Alas, it didn't work out ... The film itself seems like a two-hour cut from a whole series. Sometimes you can see directly where one episode could end and another begin, because the events do not flow into each other, but are roughly stitched together by the thread of the plot. Here Hellboy is fighting a Mexican vampire, already hunting giants in an open field, now butting with an upright pig - and all "at a gallop across Europe." Variety is great, but instead of it, it's more confusion and spontaneity. Take Babu Yaga, for example: the design is great, the makeup is amazing, but the story could have done just fine without it. The Russian witch appears almost out of nowhere, throws important information into the plot, and then disappears again into nowhere. And it seems that she even throws some kind of hook for the future, but in fact you will never hear about her again until the credits. There is a whole arsenal of similar "non-fired guns" in "Hellboy". It is immediately obvious that this is not Perlman's good-natured bumpkin. At the same time, I still don't want to trample the film in the mud, although maybe it should. It's like a ride on a muscle car on a rural road that was scattered to death: yes, it shakes, yes, it rocks, but the car is cool. In some places the tape goes into pure trash. If in the same "Venom" there was nothing but co https://jiji.com.et/babies-and-kids/page3?listing_id=dxasz8AI3rKbgJI7