The Incredible Hulk (Review)

One can hardly blame Marvel for wanting to hit restart on the Hulk films. As one of their big 3 properties and second only in character mass appeal to Spidey, it must have been hard to stomach the fan reaction to the Ang Lee joint. I guess this one is for the fans but as a stand alone film it’s only just OK. During the opening credits you see (silently) the creation of this version of the Hulk. Interesting that despite the reset this is not an origin film and it is set 5 years after the events of the credits… which also happens to be 5 years after Eric Bana went GREEN. I’m still not sure what to make of that. But in the present day Ed Norton’s Hulk is hiding out in South America doing odd jobs, keeping a low profile and taking anger management courses. One small misstep sends William Hurt’s General Ross down Amazon way with hired gun and all around psycho Emil Blonsky (Tim Roth) in tow. Norton of course escapes but only after long foot chase and a teaser of a hulk-out. Back in the good ol’ USofA Banner has returned home to find his girl Betty Ross – daughter of the general (Liv Tyler – daughter of the rocker). They catch up but an ambush is in the works and we finally get a full on fight… one in which a slightly enhanced Blonsky is left a shattered husk. But that slight enhancement kept him alive and he juices up for fight #3 where we switch coasts (Iron Man already trashed LA) to Harlem(!) where Banner and Ross go to meet a not all there scientist type overplayed by Tim Blake Nelson. He succeeds in quashing the genetic changes of one outburst but in doing so Banner is captured. As he’s flown away Blonsky who is now totally off his rocker forces the doc to give him the Hulk treatment turning him into the Abomination and setting up the next villain in the process. And then there’s the final Showdown at the Apollo!!!

While this film doesn’t quite touch the lows of the former film, it never comes near the highs either. Lee explored the psyche of the character while Norton’s version is worried about how a lusty romp might excite him too much. Lee’s brilliant comic book editing, stunning visuals (non CG) and iconic superhero moments are all absent from this film as are the great acting abilities of Bana and Connelly. The villains though are a step up with Hurt’s no nonsense General getting a slight edge and Roth’s seething but never hammy performance blowing Nolte away. The tone of this film is more “bland damsel in distress melodrama” with pithy jokes tossed in, ya know - a superhero movie. Its also chock full of full on geek-out moments that will have the fans cheering which isn’t necessarily a bad thing.

Unfortunately, Hulk drops a month after Marvel Studios brought us the revelatory RDJ as Iron Man and this one just can’t hold a candle to that. It’s not an abomination but it ain’t nothin’ to ink home about either. If Marvel can keep all their output somewhere between this and Iron Man though, I’ll be quite happy with the master plan.

Geek Note: no need to stay for the credits – they bumped the Tony Stark cameo to just before it fades to black.

C/C+

Charlie Bartlett (Review)

Charlie Bartlett is amusing high school comedy teeming with pop psychology and self aware teens just waiting for the spark that breaks them from their clicks and inspires everyone to come together to have fun and fight the man. The spark is the titular character played by Anton Yelchin and the man is hard drinking Robert Downey Jr. Yelchin brings a kind of goofy charm to the roll much like he did as the unwitting victim in Alpha Dog and the character is given to flourishes of zany teenage wackiness, a refreshing break from the genre where most writers feel the need to bury these character building parts of their adolescent memory in favor of plot. Bartlett is the perfect aspiration character for a film like this, the mischievous outcast who uses his wits and to become king-o-the-school. Most of the characters in the film are archetypes with obvious psych 101 issues but since that is the plot of the film is don’t see it as a problem, the same with some of the more predictable and cheese ball moments that both flow from this and are pretty much par for the course in the genre.

What I liked the most was that the film isn’t about sex and parties – which are just treated as banal parts of the HS experience – or about the clique-y nature of HS politics but instead focuses on the identity quandaries and psych issues of the students. The film owes much more to John Hughes’s Breakfast Club than American Pie or Clueless but the black and white nature of authority that was present in that classic is also investigated in this film. The filmmaker’s paid more attention to the “moment” between Vernon & Carl and drew that out into a full character who is in the end also a victim of the system. I can’t say whether this will become a classic like those films – I guess TBS will be the judge of that when they get broadcast rights – but it was an enjoyable film none the less.

B/B+