Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
London bachelor John (Jack) Worthing who has a murky background and his roguish spendthrift friend Algernon (Algy) Moncrieff pursue romance but are each deceitful in their own ways. Jack who is guardian of his beloved niece Cecily Cardew at an estate outside London invents a brother named Ernest so he can escape to London whenever the whim hits and hook up with pal Algy. Both bachelors are suitors but their lies and the rampant snobbery of the day get in the way. Jack hopes to marry Gwendolen Fairfax but her rigidly elitist and dominating mother Lady Bracknell is put off by Jack's lowly origins. (Parents unknown he was found as a package at Victoria Station.) While Jack locks horns with Bracknell in London Algy journeys to Jack's country home to woo Cecily and gains entree by claiming to be Ernest Jack's invented brother. When Jack returns to the country to announce that the fictive Ernest is dead he must confront pal Algy who has successfully re-invented himself as Ernest and a host of deceits. But delicious revelations unleashed by the devoted nanny-turned-tutor Miss Prism save the day for both fib-prone suitors. Happily Cecily and Gwendolen share their suitors' romantic inclinations and tolerance for tall tales.
The burning question in many minds is no doubt whether Reese Witherspoon (Legally Blonde) the only American in this veddy Brit film can carry an English accent. The answer is a resounding "yes." Her success as privileged ingenue Cecily in both accent and overall performance is all the more commendable because she is surrounded by some of the brightest and best of Brit acting talent. Colin Firth as Jack and Rupert Everett as Algy are seductively charming and appealing as the spoiled but smitten bachelors. Frances O'Connor as Gwendolyn convinces as the very "upper " but rebellious daughter of the imperious Lady Bracknell. And Dame Judi Dench as the formidably snotty and harsh Bracknell is scary enough for a horror film. Tom Wilkinson recently nominated for his role in In the Bedroom is appropriately genteel as the clergyman with a soft spot for Miss Prism sweetly portrayed by vet English actress Anna Massey brother of Donald and daughter of Raymond both legendary thesps. Art house fans will most appreciate the fine cast that armed with Wilde's words and ideas valiantly battles the film's excesses in a mission to entertain. As a dream ensemble they help put across Wilde's amusing story of mistaken identity naughty habits and laughable upper-crust foibles.
Oliver Parker was obviously on a shorter leash when he earlier directed his more disciplined and faithful adaptation of another Oscar Wilde play An Ideal Husband. With Earnest Parker has gone auteur with a fury by crafting a bloated overproduced extravagantly opened-up version of the concise play that Wilde would hardly recognize. Here the lavish costumes sumptuous sets overbearing musical soundtrack and Parker-invented flights into fantasy (Cecily has recurrent daydreams of a white knight coming to the rescue) and flashback (Bracknell has a Parker-minted lowly-dance-hall chorine past) all but drown out Wilde's streamlined savage wit and whack at upper-class conceits. Still Parker allows his illustrious performers to shine through all the fluffery.
January 31, 2002 5:51am EST
A group of high school seniors put a boy who is eager to become part of their clique through a cruel initiation prank that involves jumping off some sort of high scaffolding into a cloudy pool at a local cement factory. When one of them Landon (Shane West) gets caught the principal decides Landon needs to hang with a different crowd and assigns him to tutor kids on the weekend and take part in the drama club's spring play. Surprise-the plan works! In over his head with the play Landon seeks help from Jamie (Mandy Moore) a dowdy bible-thumper who apparently only owns one ratty cardigan. Jamie however is not your run-of-the-mill unpopular girl. Rather than being introverted and weird she is smart witty and confident-in fact that grubby sweater of hers seems to be the only thing branding her as an outcast. The two grow closer and Landon eventually sees her inner beauty forgoing his own A-list status to be with her. But Landon learns that Jamie has been keeping a secret from him that inevitably blocks their path to happiness.
Moore the underdog of the teen pop stars dyes her hair brown and dulls herself down for the role of Jamie a simple girl that loves to gaze at the stars in her spare time. She did a great job transforming herself into her character but in the process extinguished most of what makes her sparkle on screen. Mind you the script might be to blame for creating a character so unbelievably mundane and one-dimensional. Under all of Jamie's goodness and perfection is well nothing. West does a great job portraying his character transformation. Even while Landon runs with the bad crowd West conveys a sense of humility in the character. Peter Coyote plays Reverend Sullivan Jamie's over-protective father without being too overbearing which is refreshing. An almost unrecognizable and weathered Daryl Hannah has a small but convincing enough role as Landon's mother. Maybe it was her now-brunette hair but I didn't realize it was Hannah until I saw the credits.
In A Walk to Remember director Adam Shankman steered away from being overly sentimental. The relationship that develops between the teens is actually very sweet and interestingly enough the film ends up being more about Landon's transformation than about Jamie's faith. While the film is not as flaky as the rash of recent teen movies it still manages to fall into the same clichés. Though the story is very-dare I say-poignant characters like Jamie's in trying to be different have become a stereotype: The plain Jane whose personality and convictions win over the popular guy. Remember Andie (Molly Ringwald) in Pretty in Pink? Or more recently Laney (Rachael Leigh Cook) in She's All That? And though Moore has a beautiful melodic voice her singing scenes are too drawn out. We are not just treated to her crooning a chorus or two of a song during a church scene but the songs in their entirety. Even Mariah Carey spared us that much in Glitter.