erik lundegaard

The Incredible Hulk

The Incredible Hulk (2008)


How do you live down a box-office bomb of gamma proportions? How do you reboot a movie without starting from scratch? “The Incredible Hulk”—the one with Ed Norton—does both. It starts out very, very smart, like Bruce Banner, and winds up kinda dumb, like the Hulk, but it’s still better than its predecessor. Its trajectory is its hero’s trajectory. That happen often?

The box-office bomb of gamma proportions was Ang Lee’s “Hulk” from 2003, and, no, don’t tell me these two movies basically grossed the same amount. They did, of course: domestically ($134m to $132m) and worldwide ($263m to $245m); and if you adjust for inflation, Ang Lee’s movie actually grossed more in the states: $171m to $147m. But the 2003 version came to us fresh. There was excitement about it. It had nothing to live down. The 2008 version came to us with a stink attached, Ang Lee’s stink, and a general used quality about it. Really? That story again? Didn’t we just do this thing?

More and more, that’s how we feel about the movies these days: Really? Didn’t we just do this thing?

Hanging out in Rochina Favela

First, “The Incredible Hulk” is definitely a reboot. None of the actors are the same. Ed Norton replaces Eric Bana as Bruce Banner, Liv Tyler replaces Jennifer Connelly as love interest Betty Ross, and William Hurt replaces Sam Elliott as nemesis Gen. “Thunderbolt” Ross. No one replaces Nick Nolte as David Banner, Bruce’s batshit dad, because they jettison that storyline. No argument from me.

The origin of the Hulk is rebooted. Rather than, as in Ang Lee’s version, David Banner passing on his genetic modification to his son, who accidentally gets an insane dose of gamma radiation while running the same kinds of science experiments his father ran—even though he knows nothing of his father—this Bruce attempts to modify Prof. Reinstein’s WWII-era super soldier formula, which made Steve Rogers Captain America, for the military and under the watchful eye of Thunderbolt Ross. Then he experiments on himself. Oops.

The most fascinating aspect of the rebooted origin? They encapsulate it in the credit sequence. Consider it shorthand: experiment in lab, wink to Betty, oops, Hulking out, Betty bruised in the hospital, Gen. Ross injured and angry, Bruce on the lam and ... done.

This allows the movie proper to start in the same place the last one left off: with Bruce on the lam in Latin America. That’s smart.

Smarter? Our protagonist. He’s a scientist, and, for the first half of the movie, he never stops being a scientist. He’s stopped running in Rochina Favela, the largest shantytown of Rio de Janeiro, where he’s gotten a job at a bottling plant and is tackling his rather unique problem by pursuing both temporary solutions and permanent cures. The latter involves rare flowers and blood samples and microscope slides and never pan out (or we’d have to change the title of the movie). The former involves heart-rate monitors and yoga and martial arts lessons. “The best way to control your anger is to control your body,” his teacher tells him. Then he slaps him. We’ve just seen Bruce watching a TV re-run of “The Courtship of Eddie’s Father” in which Bill Bixby, who played David Bruce Banner in the 1970s “Hulk” TV series, gets slapped, so that’s a nice echo. His teacher then tells him to drive his anger from his chest into his stomach. Days without incident? 158.

Unfortunately (OK, fortunately), the bottling plant has the usual volatile elements: an impossibly pretty girl, Marina (Débora Nascimento), who likes him, and a bully (Pedro Salvín), unnamed, who doesn’t. At one point, interceding for Marina, he tells the bully, in his fractured Portuguese, and in a hilarious homage to most famous line of the TV series, “Don’t make me ... hungry. You wouldn’t like me when I’m ... hungry.”

Gen. Ross is still looking for him, of course. “As far as I’m concerned,” he says with his usual Capt. Ahab tunnel-vision, “I consider that whole man’s body the property of the U.S. Army.” And when some of Bruce’s blood spills on a bottle that makes its way to Milwaukee, Wisc., where an elderly man—our Stan Lee cameo—drinks it and collapses, Gen. Ross is alerted to the whereabouts of Banner, and, per James Monroe’s doctrine, or at least Teddy Roosevelt’s corollary, he sends in the troops. Which leads to a great chase through the shantytown—a chase in which the pursued can’t let his heart-rate get above 200.

Director Louis Leterrier uses Rochina Favela well. In the beginning, we get a great panning shot over the shanties, which seem to stretch on forever. The chase sequence through the shanties is fun. But we’re 23 minutes into this thing. Time to Hulk out already.

Extra credit at Culver University

What’s the worst part of being Bruce Banner? Is it the Hulking out? Or is it that everyone watching—you and I—want you to Hulk out? Everything Bruce is trying to prevent is what we’re there to watch. He’s second billing to his alter ego. If he ever succeeded in curing himself we’d be pissed.

Unfortunately, the Hulk isn’t that interesting, either. He’s just rage in a 10-foot-tall, CGI-created, green monster. He smashes and leaves. We want him to smash, certainly. We want him to take out the bully. He’s the ultimate wish fulfillment for the weak, a Mr. Hyde for the superhero generation. But then what? Run, leap, wake up as Bruce Banner under a waterfall in Guatemala. Oh, the places Hulk takes you.

Holding up his pants, Bruce heads back to the states and Culver University, Virginia, where it all began. He’s been in contact with another scientist, a Mr. Blue (to his Mr. Green), who, to help him, needs more data, and that data is at Culver. So is Betty Ross.

Culver is also where we get our other, requisite Hulk cameos. Bruce’s old friend, Stanley (or ‘Stan Lee’), a pizza shop owner, is played by Paul Soles, who provided Bruce Banner’s voice in the 1966 cartoon; and, to retrieve his data, Bruce bribes a campus security guard, with a pizza. The guard is played by the original Hulk, Lou Ferrigno.

But the data’s gone, expunged by Ross, and Bruce is about to go on the lam again when Betty sees him, intervenes, and they have a few scenes in the rain. The movie slows here, as mushy girl stuff usually does. It picks up again when the couple, betrayed, are set upon by the U.S. Army, including Emil Blonsky (Tim Roth), a Russian-born, British-educated soldier with a love of battle, who wants to take on the Hulk, who wants to be the Hulk, and who will become, with the help of Gen. Ross and Mr. Blue, the Abomination. But first, a good chase on campus. Bruce is trapped in a glass overpass, into which they shoot gas canisters, but ... too late.

While this CGI Hulk has more weight and personality than Ang Lee’s CGI Hulk, it’s still pretty boring. Hulk smashes, looks around, is attacked and smashes again. Ross almost incinerates Betty, his daughter, whom Hulk protects, and, after an angry glance, the two fly off to a safe location: a cave under a cliff during a lightning storm. I like Hulk roaring at the thunder. That’s good, impotent rage. I like Gen. Ross being told off by Betty’s now-ex, Leonard (Ty Burrell), and then muttering to himself, “Where does she meet these guys?” It’s a glimpse of the father we don’t see enough.

A rage in Harlem

The third act in New York should be better than it is. Bruce and Betty go there to meet Mr. Blue, Tim Blake Nelson, who gives an inspired, loopy performance as Samuel Sterns, the scientist who will become the villainous Leader. Eventually. In the sequel to this reboot. If there is one.

But Bruce, here, is more acted-upon than acting. The one time he does act, purposely falling from a U.S. Army helicopter to take on the Abomination in the streets of Harlem, it’s pretty dumb. He’s already told Betty he doesn’t remember much about being the Hulk; just fragments, images. So how does he know Hulk won’t cause more damage? How does he know Hulk won’t team up with Abomination to smash? But Hulk is hero. So Bruce drops. And we get our giant CGI battle, which, to me, is as interesting as watching two dudes play a video game. Which is to say: not at all.

I’ll say this for Ang Lee’s version: It gave us that moment when Bruce admits: “You know what scares me the most? When it comes over me, and I totally lose control... I like it.” We should have something like that here. Instead: CGI battle, Hulk wins, leaves. Is the Abomination still alive? What happens when he wakes? Has Gen. Ross learned his lesson? Shouldn’t we get a mea culpa from the son of a bitch?


The end implies that Bruce, via meditation, is learning to control the Hulking out, which sets up “The Avengers” movie but which goes against all Hulkian principles. His eyes open, green and knowing, and the movie ends. Not a bad end, I suppose. Unfortunately, it’s the last we’ll see of Ed Norton as Bruce Banner. They’ve replaced him with Mark Ruffalo, a good actor, who I’m sure will be fine. But some old, Marvel-style continuity would be nice now and again. Some sense that actors matter. Some sense that we’re not all the stuff of CGI.

—March 21, 2012

© 2012 Erik Lundegaard