There are moments in “Hellboy 2: The Golden Army,” Guillermo del Toro’s profligate sequel to “Hellboy,” capable of delighting even the most jaded, comic-book-weary summer-blockbuster conscript. (That would be me.) Lately we have seen plenty of big, asphalt-smashing street battles between hero and nemesis — Tim Roth and Edward Norton, hopped up on military growth hormones, hurling cars across Harlem in “The Incredible Hulk”; Charlize Theron and Will Smith enacting some kind of meteorological superhero S & M in “Hancock” — but nothing quite like the scene in which Ron Perlman’s Hellboy, a baby in one hand and an ove

What makes that sequence memorable is not just the visual audacity of the stunts and effects, but also the weird animist vibe that the photosynthesizing fiend gives off. He might have sprung from the pastoral imagination of the Japanese animator Hayao Miyazaki, if Mr. Miyazaki’s environmentalism inclined him toward anger rather than sorrow. And even after Hellboy carries out a necessary and brutal pruning, a moment of mourning is permitted. That raging vine, after all, was the last of an endangered species.

Which is not to say that “Hellboy 2” is exactly, or primarily, an ecological allegory, though it does have some twinklings of green consciousness amid all the red- and gold-hued mayhem. There is just too much else going on to single out any particular theme or mood, which is part of the movie’s charm and also, sometimes, a source of exasperation.

Mr. Perlman, painted bright red and outfitted with sawed-off horns and an extra-large fist, is happy to ignore the trappings of digital-era cinematic splendor and act like the cigar-chomping hero of an old black-and-white B picture. The script (and the comics by Mike Mignola that are the movies’ source) may identify the character as a demon exiled from the underworld, but as a movie archetype Hellboy is more like the gruff sergeant or the cynical gumshoe, with a soft heart, naturally, beating under the hard shell. In Mr. Perlman’s performance you catch glimpses of Bogey and Lee Marvin and hints of Robert Mitchum and George Kennedy, all blended with devilish glee and disarmingly sexy sincerity.

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