Hulk
directed by Ang Lee
story by James Schamus
screenplay by John Turman and Michael France and James Schamus
based on the Marvel comic book created by Jack Kirby and Stan Lee
starring Eric Bana, Jennifer Connelly, Nick Nolte, Sam Elliott and Josh Lucas

        We have yet to see the complete comic book adaptation on screen, only parts which will hopefully come together: the epic super-hero story of Superman; the soap-operatic pulp characters of  X-Men; the expressionistic set design of Batman; and the stylishly angled shots of Daredevil.  With Hulk, Ang Lee supplies a new addition to the list in his split-screen framing and cutting, creating an excellent recreation of comic art panels.  Unfortunately, while coming close to a making a perfect comic book, projected on screen, he is far from making a perfect film here.
         The epic super-hero storyline begins in 1966, as David Banner is toying around with DNA, experimenting on himself despite the orders from General Ross not to use human test subjects.  Banner is successful in manipulating his genes, which he then passes on to son Bruce.  Slow-forward to present day, where Bruce Banner(Bana) is following in his father's footsteps in the field of genetics with his partner/girlfriend Betty Ross (Connelly).  Struck by Gamma radiation, Banner develops a Mr. Hyde transformation that unleashes when he gets angry, turning him into a giant green monster. 
          It makes sense that Universal bought the rights to Hulk considering the studio's history with monster movies.  Banner's alter-ego is akin to the genre of misunderstood creature, a la Frankenstein, more than he can be classified as super-hero.  There is no appreciation of the power and strength which selflessly brings other comic book characters to fight crime.  Instead, he is taken hostage by the always heartless military.  General Ross (Elliott) wants the Hulk concealed from his daughter and the rest of the world who wouldn't tolerate such a being.  Talbot (Lucas), a scientist under the Army's employment, hopes to study Banner's gene structure in order to create super-soldiers.  Eventually the Hulk gets loose and battles tanks and helicopters in the desert and later San Francisco, which has become the city most exploited for destruction in movies.
           There are moments when these action scenes are fun.  The CGI used on the Hulk are really amazing in close-up, not so successful in long shots of running, jumping and falling through dunes and canyons.  The Hulk can do just about anything short of actual flying, and because of this, I grew bored of the many attempts to shoot him, just as I had no investment in the indestructible Neo of The Matrix Reloaded.  This kind of immortality has only been achieved well in Unbreakable because M. Night Shyamalan didn't subject us to too much pointless action.
            And Lee subjects us to plenty of action which isn't necessarily pointless, but confusing.  Two major scenes take place at night with very little light allowing for clear focus, one ridiculous bit involving mutant dogs and the other a climax which I won't explain due to spoilers, though also due to my lack of understanding of it. 
             It is hard to decide whether I liked the non-Hulk parts more, though.  Many scenes of real actors are great, especially those utilizing the split screens and comic layout gimmick, but Eric Bana is possibly a worse actor than his computer generated counterpart.  I wanted, for once, the characters to smile, let alone laugh or have some fun.  Even Boris Karloff got to crack a grin underneath his makeup once in awhile. 
            I think Hulk is a movie that should be seen.  Despite the many flaws, the film does achieve some greatness.  At two and a half hours, there is enough to be enjoyed, and at times, the special effects are impressive.  At the same time, I don't expect many people to walk away satisfied.  Like the characters in Universal's famous films, Ang Lee's film is a monster, riddled with imperfection, misunderstood and, I expect,  audiences will want to destroy it with pitchforks and torches.

The Russians and the Arabs can rest now; San Francisco has officially taken over as the token Hollywood villain.