Hellboy: The Crooked Man

Hellboy: The Crooked Man, directed by Brian Taylor and co-written by Mike Mignola and Christopher Golden, departs from the large-scale action films of the past and takes Hellboy into the dark recesses of American folklore. Set in 1959, the film sees Jack Kesy step into the shoes of the titular character, Hellboy, previously played by Ron Perlman and David Harbour. With this new adaptation, the filmmakers aim to bring the character back to his roots, drawing inspiration from the comic book series of the same name published by Mike Mignola in 2008. The result is a more intimate horror film that thrives on atmosphere, but has some notable flaws.

The story follows Hellboy and rookie Bureau of Paranormal Research and Defense (B.P.R.D.) agent Bobbie Jo Song, played by Adeline Rudolph, who find themselves stranded in the Appalachian Mountains after a mission involving a cursed spider goes awry. Right from the opening sequence, Brian Taylor sets a more horrific tone than in previous films. Hellboy and Bobbie Jo Song confront a giant demon-possessed spider aboard a train, which ultimately derails their journey. They then find themselves navigating the sinister, witch-haunted woods of rural Appalachia.

There they meet Tom Ferrell, played by Jefferson White, a local with a troubled past who has returned home to confront the evil that once plagued his family and the surrounding town. Tom Ferrell is a central character in the story, as he has a deep connection with the supernatural forces at work in the area, particularly with Effie Kolb, a powerful witch played by Leah McNamara. As Hellboy, Bobbie Jo Song and Tom Ferrell investigate the mystery, they discover that the entire region has fallen under the influence of the Crooked Man, played by Martin Bassindale. This malevolent character, a resurrected corpse who haggles over souls to make his fortune, is the main antagonist, the epitome of folk horror.

The fact that the film is set in Appalachia is an integral part of the atmosphere that Brian Taylor succeeds in creating. The rural landscape, combined with a sense of eerie, dilapidated isolation, reinforces the elements of folk horror that run throughout the story. The Crooked Man is not a global, worldwide threat like the antagonists in previous Hellboy films; rather, he represents a more localized, deep-rooted evil. The witchcraft, curses and black magic that permeate the film's universe are personal and deep-rooted, lending the story a creeping sense of dread. The film's folkloric roots - enchanted objects, shedding witches and cursed families - add to the eerie tone, creating a slow-burn horror experience rather than the action-packed approach of Guillermo del Toro's previous adaptations.

One of the film's most successful elements is its use of practical effects, which are far more effective in creating a tangible sense of horror than digital effects could have been. Jack Kesy's interpretation of Hellboy is enhanced by his make-up, which, while not as detailed as previous versions, allows him to physically inhabit the character in a way that seems faithful to the comics. Kesyde's version of Hellboy is more understated and weary than his predecessors, delivering his lines with a dry wit that captures the essence of Hellboy's personality. Although Jack Kesy lacks Ron Perlman's larger-than-life charisma, his performance fits the tone of this film, which is less about bravado and more about creeping horror.

However, the relationship between Hellboy and Bobbie Jo Song is not sufficiently developed. Adeline Rudolph delivers a solid performance as Bobbie Jo Song, but her character is written in a way that doesn't allow her to shine. Her interactions with Hellboy serve mainly to advance the plot, and while there's potential for a mentor-student dynamic, the film never fully explores this relationship. Rudolph's Bobbie Jo Song is a curious and determined agent, eager to prove herself, but the script doesn't give her much room to develop, making her arc feel shallow. The chemistry between Jack Kesy and Adeline Rudolph is satisfying, but lacks the necessary spark to make their partnership truly compelling.

The film's supporting cast does, however, offer a few memorable moments. Jefferson White gives depth to Tom Ferrell, a man haunted by his past and the dark magic that consumed his family. His character's connection to the Appalachian witches, in particular Effie Kolb, creates a subplot rich in personal stakes. Leah McNamara is deliciously menacing as Effie Kolb, chewing the scenery with a viciousness that stands out even in the film's darkest moments. Martin Bassindale's Crooked Man is another highlight, a grotesque figure whose presence dominates the film, even when he's not on screen. His interpretation of the title character captures the essence of the character's portrayal in the comics: disturbing, conniving and full of villainy.

One of the film's shortcomings is its uneven pace, particularly in the second act. While the first half of the film effectively builds tension, the pace slows considerably as the characters explore the Appalachian wilderness. Brian Taylor's direction shines in the atmospheric and horrific sequences, but struggles to maintain the tension in between. The film sometimes feels disjointed, moving from one disturbing scene to the next without fully developing the connective tissue of the narrative. The introduction of dream sequences, flashbacks and subplots involving Hellboy's mother adds to this disjointed feeling, and while they contribute to the film's dreamlike atmosphere, they sometimes distract from the central plot.

In addition, the film's low budget is noticeable, particularly in the CGI effects, which are inconsistent. While the practical effects, such as make-up and creature design, are impressive, the CGI, particularly in the third act, is often out of place and disappointing. This is particularly evident in the confrontation between Hellboy and the Twisted Man, which lacks the visual impact it promised. That said, the film's ambition is admirable, and Brian Taylor does his best to work within the limits imposed, relying more on mood and atmosphere than flashy effects.

Despite its shortcomings, Hellboy: The Crooked Man manages to capture the tone and spirit of Mike Mignola's original comics. The film's folksy approach is a welcome change of pace for the Hellboy franchise, offering a darker, more intimate story that feels more faithful to the character's roots. Jack Kesy gives Hellboy a new, more down-to-earth face, and while his performance doesn't reach the iconic status of Ron Perlman or David Harbour, it serves the film well. Brian Taylor succeeds in creating a film that, despite its budgetary constraints, has moments of authentic horror and intrigue.

Hellboy: The Crooked Man is an uneven but atmospheric entry in the Hellboy franchise. It's not the grandiloquent, action-packed Hellboy that fans of Guillermo del Toro's films have come to expect, but it does offer something different: a folkloric horror tale that draws on the darker, stranger elements of Mike Mignola's universe. For those willing to accept this change of tone, there's much to appreciate in the film's sinister setting, practical effects and eerie atmosphere that permeates the story. Brian Taylor may not have delivered the definitive Hellboy film, but he has created an intriguing experience that could pave the way for equally bold future adaptations.

Hellboy: The Crooked Man
Directed by Brian Taylor
Written by Christopher Golden, Mike Mignola, Brian Taylor
Based on Hellboy by Mike Mignola
Produced by Mike Richardson, Jeff Greenstein, Yariv Lerner, Jonathan Yunger, Les Weldon, Robert Van Norden, Sam Shulte
Starring Jack Kesy, Jefferson White, Adeline Rudolph
Cinematography : Ivan Vatsov
Edited by Ryan Denmark
Music by Sven Faulconer
Production companies: Millennium Media, Dark Horse Entertainment, Nu Boyana Film Studios, Campbell Grobman Films
Distributed by Ketchup Entertainment
Release dates : June 20, 2024 (Belgium), October 8, 2024 (United States)
Running time : 99 minutes

Viewed on October 8, 2024 on VOD

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