It is impossible not to compare Van Helsing to last years’ The League of Extraordinary Gentlemen. First of all, they are graphics-filled action films whose actions sequences far outweigh anything else in the story, whether in terms of plot or characters. They are both based on made-up events involving real characters from 19th Century British novels. Their cinematography involves dark and gothic but beautiful pictures of London, Paris and Europe. And strangely enough, both feature Richard Roxburgh as the lead villain.

Unlike Gentlemen, however, Van Helsing focuses on one primary protagonist – Van Helsing (Hugh Jackman), originally an old, thoughtful scientist who tracks down Count Dracula in Bram Stoker’s novel – here a young, suave hit man who is rather reminiscent of Jackman’s Wolverine.

Van Helsing has almost no plot – it’s 90% action – and what little story we get is silly. Basically, Dracula (Richard Roxburg) is trying to take control of a werewolf (Will Kemp) to protect himself and Frankenstein’s monster (Shuler Hensley) in order to provide the energy necessary to bring life to his offspring begat by his three brides (Elena Anaya, Silvia Colloca and Josie Maran).

Van Helsing, commissioned by the Vatican to exterminate evil in the world fights Dracula with the aid of his sidekick, Carl (David Wenham), a friar who knows Dracula’s secrets, and some warrior-princess lady named Anna Valerious (Kate Beckinsale). In standard form, Anna provides for the romantic interest while Carl provides the few moments of comic relief. Ironically, the studious, problem solving Carl is actually the one reminiscent of Bram Stoker’s Van Helsing.

Van Helsing provides for nothing beyond its action sequences. It is completely empty and utterly silly. Bounds of realism, both in terms of characters as well as physical events are beyond even being an issue here. This is fantasy in the ultimate sense.

But it is pretty cool. Non-stop actions sequences provide eye-candy that at times is on par with such scenes in Spider-Man and the Lord of the Rings. High flying sequences with multiple air-view shots make it almost difficult to watch at times if you’re afraid of heights. And I love the dark pictures of Europe – I really can’t get enough of this type of illustriously gothic cinematography.

Speaking of which, I also appreciate the constantly gothic overtones of the film. Established in the very beginning with a classic black and white homage to old horror films, Van Helsing tells us this film is going to be soaked in the gothic – and it keeps its promise. Van Helsing is constantly wrought with high strung emotions and reactions, forgotten legends and mystic powers. In a strange tonal shift, it’s also filled with Wellsian gadgets and electronics.

The constant action eventually becomes tiresome. Cool to look at, yes. Cool to watch, not so much. Long action sequences became such that I even lost track of what was going on. Well, one thing’s for sure. The summer has begun – the poorly written big budget films are here.

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