![]() The few who don’t treat it as a necessary cost of media attention. Most politicians love being in front of the camera. We leave Bruce Banner in an intriguing situation, a long way from where he started, potentially angry, and waiting for a sequel.Lieutenant Governor John Fetterman, 51, stands for a portrait in his office in the State Capitol in Harrisburg, Pa., on March 3, 2021. It's also a movie that seems, more than many such would-be super-hero franchises, to have a good deal of unfinished business. ![]() They're bigger, more excessive, more destructive - fairly impersonal, directed at buildings and objects rather than people, but leaving their chaotic mark. Bruce Banner/The Hulk is a more haunted, passive figure than the average superhero, acted upon rather than acting, and his physical transformations have none of the adolescent energy or exuberant play of Tobey Maguire morphed into Spider-Man. Hulk, like its central character, is a divided entity, dark one moment, green the next, bleak followed by expansive. The military establishment is the dominant institution of power in this film: as the Hulk terrorises California, there's a brief glimpse of a president on a fishing trip being informed of what's going on, but the army makes the decisions about the necessary means of containing the threat offered by the Hulk, and the possibility of exploiting his powers. He is an army man, and that's important, too. Betty's relationship with her father, and her father's role in the lives of the Banner family are crucial to what happens. Parental links are important in this movie. There are times when he's reminiscent of King Kong, but rather than being buzzed by aircraft, he can leap up and pluck helicopters out of the sky. He's a striking figure, a computer animation who resembles Lou Ferrigno from the TV series writ large, a big, green monster who can not only leap tall buildings with a single bound, but also tear them to the ground if he wanted to. ![]() It's not an affectation or a stylistic tic, however: it gives the film a crispness and a considerable momentum.īut when the main comic-book element, the Hulk, arrives - when man transforms into monstrous figure- the film inevitably changes gear. He uses split-screens to suggest comic-book panels, multiple angles and wipes that resemble the turning of a page. In this extended, pre-Hulk establishing sequence, Lee pays tribute to the character's Marvel origins. ![]() Their research has possibilities that interest some unsavoury types from the military, embodied by the pushy Talbot (Josh Lucas), who comes across like the Paul Reiser character in Aliens, greedily eager to put people at risk for profit. He works with an ex-girlfriend, the crisp and compassionate Betty (Jennifer Connelly), who can't sustain an emotional relationship with him because he's too withdrawn.
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