THE HULK, adapted by Ang Lee (CROUCHING TIGER, HIDDEN DRAGON) from the Marvel comic book series, stars Eric Bana as Bruce Banner, the tormented scientist whose temper periodically transforms him into a raging green monster. Fellow scientist and Hulk-love-interest Betty Ross (Jennifer Connelly), shares a strange connection with Banner--both have abstract childhood nightmares that hint at a shared dark past. The missing pieces of the puzzle are revealed when Banner's unstable, mad-scientist father David (Nick Nolte) appears out of the blue, followed by Betty's father Ross (Sam Elliot), a military cowboy. Banner is ultimately trying to understand what it is that makes his strange and unpredictable metamorphosis occur, while his outbursts distract him, leading him out into the streets of San Francisco, to the Golden Gate Bridge, and on a tour of the American west's national parks where he unleashes his anger in violent tantrums. A threat to the country that is treated like a natural disaster, the military is quick to respond, chasing the Hulk with helicopters, machine guns, and even heavy artillery, as he bounds away in mighty leaps, trying to escape. The CGI work used in creating the Hulk is funny and convincing, and the gorgeous landscape photography makes his presence all the more amazing. A vibrant color scheme adds to the film's visual thrills, split-screen editing breaks up the slower scenes, and the music by composer Danny Elfman perfectly punctuates the contrast between the soft love story and wild action sequences. While parts of the film recall the introspection of FRANKENSTEIN, the outrageous crowd-pleasing monster-military chases hearken back to KING KONG and the GODZILLA movies.
More than a few eyebrows shot skywards at the news that Ang Lee was to direct this science-fiction action drama, the big-screen treatment of yet another Marvel Comics character following on from the box-office success of X-Men, Spider-Man and Daredevil. After all, the director of The Ice Storm was hardly the obvious choice for a genre more noted for campy fun and destructive action than the subtleties of human relationships. What has emerged is a curate's egg of a movie that is unlikely to totally satisfy anyone. The childhood trauma that feeds Bruce Banner's rage is an oddly grim subplot for what began life as a summer blockbuster, while the later action scenes feel tacked on despite their technical virtuosity. Matters aren't helped by Eric Bana's detached performance as Bruce Banner, but Nick Nolte injects a soupçon of fun as the older incarnation of his insane dad and Lee's use of editing — including split screens to suggest comic-strip frames — is quite innovative. Overall this is worth a look, if only to experience a rare but laudable example of big-budget Hollywood taking a risk.
Halliwell's Film Guide
Overly serious attempt to turn a comic-book creation into a symbol of Oedipal suffering; Lee's ambition is not helped by the obviously computer-generated Hulk, apart from one joyous moment when he angrily bounces off into the distance.
Chicago Sun
"...The movie has an elegant visual strategy....Ang Lee has boldly taken the broad outlines of a comic book story and transformed them to his own purposes..."