Review: Tropic Thunder

War Games

As the summer windles down, the days start to get a tad shorter and the school bells start to ring to bring the children back, there isn't much to offer at the movies, and that is an ultimate downfall that has constantly plagued August. Its first big feature, the three-quel to the Mummy franchise was underwhelming, and the highly anticipated Pineapple Express was nothing more than a shallow comedy that disappointed many. And while it may make loads of money, I'm still not betting a huge amount on the last hurrah of the season: the latest Star Wars cash in The Clone Wars. Still, over the horizon comes this film, a witty, poignant film that knows exactly what it's mocking. And I loved nearly every minute of that self-mockery.

The story seems simple enough. Filmming is underway of a Vietnam war epic that has gone awry. The film's director (Steve Coogan) is incompetent, the author of the original story (Nick Nolte) is a little looney, and its three stars, action man Tugg Speedman (Ben Stiller), funnyman Jeff Portnoy (Jack Black), and serious thespian Kirk Lazarus (Robert Downey Jr.) can't quite find a way to work together. Two other actors (Jay Baruchel, Brandon T. Jackson) are there to try and anchor the craziness. While the production is being threatened, Nolte's character suggests that the movie be made in the thick jungle to add that sense of realism. That doesn't go over so well, as the principle actors, and primarily Speedman, get caught up in a drug trade in Laos and are taken into a real life war zone.

Of the three leads, Downey is the key to the film's success. Downey is a master comedian, and makes every scene of his 100% authentic. There has been some controversy surrounding what some are calling an updated version of black face since his character underwent a procedure to change his skin tone. In reality, it is not a racial poke, it's a jab at method actors who pour way too much into a role (the film's more vulgar take on the portrayal of the mentally challenged and the parallels to Oscar-winning performances I found more offensive). Still, Downey is flawless. Black is okay and does deliver one or two very howling moments. As for Stiller, I've never really been able to buy into his comedy, but there are some moments when his appearance with the ensemble lightens the mood.

The other great addition to the cast is the supporting players. Coogan makes an all too brief appearance but gives a rousing speech that an innovative director would, Nolte gives light in his role, even brief roles from Bill Hader, Jon Voight, Lance Bass and even a strangely placed Matthew McConaughey do wonders in the few moments they have. However, it is the much publicized cameo by Tom Cruise as studio head Les Grossman that reigns supreme. His bald cap, fat suit, wide rimmed glasses and foul temper make an obvious caricature for a Harvey Weinstein or Scott Rudin. His presence is a continuous riot, and it's amazing.

In addition to acting, Stiller also directed, co-wrote and co-produced the film as well. I've never been a big fan of Stiller's directorial career. I didn't like the one-note joke of Zoolander and The Cable Guy speaks for itself. However, Stiller has found the perfect way to shoot this film with its blend of action and comedy. He also has the thanks of brilliant cinematographer John Toll, and he lights this film beautifully. The script is also very funny by Stiller, Justin Theroux and Etan Cohen.

I admit that I've always had a weak spot for industry movies. Whether they range from popular entertainment venues (Sunset Blvd., Get Shorty, Network) to some that are more obscure (Boogie Nights), I'm always interested in films that dissect an industry, and this movie does it pretty well. The funniest parts in the film actually come before the film officially starts, as faux trailers (some of the best parts of last year's flop Grindhouse) spoof on action films from the likes of Sylvester Stallone, the multiple role-playing comedies of Eddie Murphy (wouldn't there be a riot if the film's makeup was nominated for an Oscar?) and the shameless award-hungry vehicles (this one involves the love affair between Lazarus and a monk, played by Tobey Maguire - the film's second best cameo appearance). That sets a tone that the rest of film tries to live up to. It doesn't always, as some physical humor falls flat and Stiller can be an unimpressive force, but I'd say this is one self-ridiculing film that offers a hell of a time. ***1/2 / ****; GRADE: B+

Review: Pineapple Express

Up in Smoke

The Judd Apatow factory should be known to be one of the most productive machines working today. I've never really encountered a product of theirs that didn't result in some kind of enjoyment. It's prototype The 40-Year-Old Virgin, was a cute little film that managed to show us another side of Steve Carrell before he would later show off on the television, and the year's earlier showing of Forgetting Sarah Marshall, let people know that good acting combined with writing can mean good results even with a familiar premise. The latest to come out of that machine now shows us that it may be time to shut down the factory for a little while and give everyone a tune up before people start returning these products, declaring them defective.

Seth Rogen, who is already a regular for Judd Apatow, plays the lead role of Dale, a loser who attempts to survive his hellish job by dressing up in disguises while giving people subpoenas. During the day, he visits his drug dealer Saul, played very entertainingly by James Franco. Saul gives Dale the premium pot called Pineapple Express. Upon leaving, Dale inadvertently witnesses a murder by a crime boss (Gary Cole) and a corrupt cop (Rosie Perez). This starts a chain of events that follows most other action films.

Rogen is not necessarily a talented actor, but he's one that's been able to get by with playing characters that don't require much stretch and mimic his personality. Franco is a true delight in a role that is completely the opposite of what you'd expect him to do. So many of his lines and mannerisms are so well played, you'd think there is a real thespian behind that goofy smile. However, to paraphrase my second favorite Chicago film critic, Michael Phillips, that would mean that there's an actual motive behind his acting and would throw off the realism. Danny McBride also has a funny role as a friend of Saul who gets into a very funny fight, but the rest of the cast struggles. In particular, Cole and Perez don't act like their in a stoner comedy, but more so like clumsy villains in a Michael Mann film that still come off as menacing. I don't think that's quite the right tone for the film.

The film is written by Rogen and Evan Goldberg (with additional story material from Apatow), and it is reminiscent of the same type of amateur writing that was present in Superbad. I liked that earlier effort and remained a strong supporter for a campaign to have it nominated for Best Original Screenplay. This one, however, lacks the charm that the former film had. Superbad had juvenile dialogue, but it was alright because it came from teenagers. The script sounded like it was written by teenagers, and the characters represented that. Juvenile dialogue doesn't sound quite as nice when it is coming from grown men, even if they are high all the time. There is also something a little disturbing about a film that glorifies marijuana the way that it does, even relishing in how its lead characters get ahead by selling joints to twelve-year-olds.

This movie also has a strange taste in director: indie sensation David Gordon Green. Green has spent was seems to have been a lifetime of making obscure films that no one has seen, such as George Washington, Undertow, and this year's little gem Snow Angels. It's almost absurd to think that a man with this kind of background would be directing a film that is actually aimed at a large audience. However, it goes back to a thought that everyone has had at some point: the thought of what would happen if a good director actually made a movie considered to below their reputation. When put to this film, we get a sometimes imaginative film that indulges the audience is an interesting way. Still, it's not like a noticeable director like Green brings anymore to this project. Although, it does make me wonder if Green had directed Superbad, would it have been a bigger hit? Or even an Oscar contender?

Judd Apatow has another film coming out next year that will also star Rogen, along with overseeing Rogen in a Sherlock Holmes spoof. However, I'm hoping that Apatow writing and directing his next feature will be the tune up that his factory desperately needs. It's not that the products are bad, but they are declining. And it needs to happen rather quickly. ** 1/2 / ****; GRADE: B-

Review: The Dark Knight

Dark Victory

I'll be the first to admit that of all the superhero franchises out there, whether they come from the world of DC Comics or Marvel, none has fascinated me so much as Batman. I have always been attracted to the very dark style that has led to the development of deep psychological, disturbed and dangerous issues that were never present in Peter Parker's hectic teenage world or Superman's perfect alliance of superhuman powers. I also love Tim Burton and his first two installments remained for the longest time the best films the series had endured. Then, when Christopher Nolan was brought in to resurrect the series almost a decade after Batman & Robin, I loved his take on trying to make Batman grounded in a real world, as if a "Batman" could actually exist. I applauded that, but was still a bit hesitant to give it high praise, considering my allegiance to Burton and the previous films. With The Dark Knight, however, I have no problem in saying that this is much more than just the best Batman movie, or even the best superhero movie; this is the best genre picture that I have seen in a very long time.

Picking off exactly where Batman Begins left off, the Caped Crusader is still fighting the menacing threats of Gotham City. Christian Bale strikes an even greater balance of duality playing Bruce Wayne and his alter ego, who both face problems that are intriguing. Wayne is having trouble with his personal life still, as Rachel (Maggie Gyllenhaal, a clear improvement) becomes a rising star prosecutor alongside the new DA Harvey Dent (Aaron Eckhart). Dent is seen as Gotham's "White Knight" a figure whose face is friendly to the public and can help clean up the streets. Dent is also trying to nab certain mob guys, and enlists Batman to help track down one of them to Hong Kong (it's nice to see a Batman film get out of Gotham for a change). But Batman has more to worry about than some gangsters. His most famous arch -nemesis throughout the comic books, The Joker, is plaguing Gotham with attacks that offer to question the establishment with no real cause other than creating chaos. There's a lot on Batman's plate.

There are so many elements that make this film stand above many other pictures that came before it. One magnificent highlight is the acting. Bale is fantastic in a role that separates the problems of Wayne and Batman and then making the separate problems blur into each other. I had a slight problem with his "Batman voice" intruding on nearly every scene, but it's only a slight complaint. Gyllenhaal is always great in anything she does, and she brings so much more weight to the character than Katie Holmes did. Holmes wasn't bad in the first installment, but Gyllenhaal makes Rachel a character believe in, not to just fill up time until Batman rescues her. Other supporting players, including Eckhart (who does become Two-Face in this film), Michael Caine, Morgan Freeman, and even Eric Roberts in the gangster role that takes over for Tom Wilkinson, are all excellent pieces in the ensemble world of this film.

But of course, the true star is the late Heath Ledger. Like so many others, I believed that his performance was going to be good, but half of that would lend to the fact that his untimely death would result in higher praises than necessary. Nothing could be further from the truth. Ledger pours so much passion into this character that the thought of him not being here to enjoy this success never once crossed my mind (maybe once when the Joker is brought out in a body bag - that's not really a spoiler). Far from Jack Nicholson's interpretation, Ledger's Joker is a true psychopath; an insane menace who taunts our heroes for making points, not necessarily for personal, monetary gain. Ledger is the true star, and we can't wait to see him again on screen.

Another thing that makes this film excellent is Christopher Nolan. Now given proof of his genius of filmmaking, Nolan crafts this story like it's the real deal. He invests so much into the atmosphere in the story that sometimes the epic scale makes us seem like we're watching The Untouchables or Heat. He also does good of not only losing a Joker backstory, but allowing him to tell three different version, keeping the character clouded in mystery and focusing on what is happening now. The script, written by Nolan and his brother Jonathan (working off a story from David S. Goyer), reaches to new heights in the genre, and while containing many heavy plot elements, it only shows the sophistication of franchise now. Cinematographer Wally Pfister does fantastic work in lighting every bit of scenery, and I will always thank Nolan for choosing Chicago as his Gotham City (fellow Chicagoans, be on the lookout for an exciting chase scene through Lower Wacker and Randolph Station).

The talk is now starting to form if The Dark Knight will be up for a Best Screenplay, Director or even Picture nomination. I'd say of the three, screenplay is the closest it will come to. However, I completely believe in Leger's Oscar campaign for Best Supporting Actor. This is a performance that should be awarded not because of his passing, but because of simple great acting. Ledger's Joker is simply fantastic, and he has a great ensemble and the film's wondrous technical elements to aid him. It's unclear where a third Batman entry will go (I think Warner Bros. should chain Nolan to a desk and keep him forever), but as of now, we're looking at true victory, even if it is clouded in some darkness. **** / ****; GRADE: A

Review: Hellboy II: The Golden Army

Red Scare

Whether you want to preach it on the top of a mountain or mutter it quietly to yourself, one has to give credit to the fact that Guillermo del Toro is a cinematic genius. That intelligence, however, can sometimes be an acquired taste. For instance, not everyone responded so warmly to his treatment of the first Hellboy and even though Pan's Labyrinth received praise almost universally (including from yours truly), there was still a sense that a dark imagination was surfacing that was unlike anything that was seen before, and that can be a dangerous thought. Now, del Toro has made us face that danger head on and tenfold, and what results is a slightly less impactful, but still energetic work of art.

Del Toro prefaces the film with an overtly visual prologue narrated in the raspy tone of John Hurt and featuring some really creepy looking puppets. The bedtime story talks about a war between humans and a race of powdery-skinned elves(?) whose warring stops when the mythical creatures build an unstoppable brigade of robots, called the Golden Army, that are deemed too powerful and kept underwraps as a truce is installed. However, Prince Nuada (Luke Goss) doesn't trust humans and wants to Golden Army to start up the war again. That's when the Bureau of Paranormal Research and Defense comes in and Hellboy (Ron Pearlman, returning) is sent to save the day.

I'm actually omitting many details from the plot that would make it a tad more complicated than it already is. There is an overwhelming feeling that del Toro picks and chooses some story elements and scenes only to provide an arena for his twisted imagination. Sometimes it pays off, such as in an extended marketplace filled with creature effects that remind you of the balance of makeup and physical effects from the Stan Winston days. Other times, it feels like it is a real stretch of time, like when Hellboy battle a giant plant monster that then takes about ten minutes to disappear. Still, I admire del Toro's dark vision, particularly his new take on the "tooth fairy" (which means that you should probably not take the kids to see this one) and I know that others who have appreciated his previous films will enjoy the imagery here as well.

Another part that makes Hellboy work is the cast, and in particular it is Pearlman. Everytime he shows up on the screen, you can't help but love his tough-guy-who-tries-to-be-good routine as he stomps though and tries to make some sense of his love life with the flame vixen Liz Sherman (Selma Blair). Jeffery Tambor returns, and he's always a delight, and also listen for Family Guy creator Seth MacFarlane voicing the smoke-faced (literally) government agent Johann Krauss, whose German accent becomes the butt of many a joke, including one highlight that showcases the mispronunciation of "focus."

All of Hellboy 2 leads up to a big, climatic final scene. A part of it is even more satisfying than the first film, which I thought was resolved too quickly. That problem isn't present here as the sequence probably goes a little bit too long. Still, that doesn't mean anything is really taken away. Despite some setbacks in storytelling, when you add up the visual spectacle of del Toro's imagination, the lovable performance from Pearlman, and the familiar territorial score from Danny Elfman, the red guy is certainly up to the challenge of entertaining us once again. *** / ****; GRADE: B

5 Most Underrated Tom Cruise Performances

In honor of Tom Cruise's 46th birthday (along with my own 18th), I decided to take this opportunity to write about this famous star and focus on the highlights of his career. At least, they should be highlights. Cruise might be remembered for films like Risky Buisness, Top Gun, Born on the Fourth of July, and Jerry Maguire, he also has delievered some worthy performances that went under the radar. Here is a shortlist of Tom Cruise performances that should have registered heavily than they ultimately did.

Vincent in Collateral

In probably the most underrated performance of his career, Cruise shines as a sliver clad assassin who takes an all-nighter ride with cabbie Max, played by Jamie Foxx. Foxx wound up with the Oscar nomination, but Cruise’s work is so refined and subtle here that I wish their places could have been traded. From the beginning to the end, Cruise makes Vincent a character to hate because of his deeds, to admire because of his resourcefulness, to fear because of his predatory skills, and ultimately pity because of his solitary ending. This was truly a highlight in his career that went unjustly unnoticed.

Frank T.J. Mackey in Magnolia

Some people might question the presence of this film on the list considering Cruise earned a Best Supporting Actor Oscar nomination for his work. However, I think Paul Thomas Anderson’s meandering (and at times, laborious) multi-character study is so grand, that Cruise sometimes can get lost within the sea of numerous talented actors. Still, there is a reason that Cruise is a standout. His energetic self-help guru is full of that bouncy energy that has actually tainted some parts of Cruise’s career. However, he then comes to play off it, and lets it backfire on his character during the pivotal confrontation between his father, played by the late Jason Robards. He self-destructs in front of us, and it is a move that Cruise rarely does.

David Aames in Vanilla Sky

Cameron Crowe’s absorbing remake of the Spanish film Abre los Ojos is already a difficult thing to take in. However, despite the lukewarm reception, Cruise is actually the piece that makes it work. As the story spirals into all sorts of different paths, Cruise remains grounded in the center, casually swaying with each plot twist but never losing his footing and always making the unbelievable seem believable in his circumstances. He also presents a wide range of emotions that flutter in and out, adding to the theme of the reliability of reality. Crowe might have gotten Cruise nominated in Jerry Maguire, but he gave him much stronger material in this underrated film.

Sen. Jasper Irving in Lions for Lambs

Robert Redford’s gigantic flop about a social commentary on politics and war didn’t register much with people. However, those who missed it also missed Cruise in a defining role. From the start, his own casting is ironic (a Hollywood elite playing a Republican politician) and that tone sets us up for something Cruise has done little of: plain talking. Cruise makes the words of Irving believable; he sells the idea of presenting conservative values to a liberally biased world and fights like hell against it. He gives us a window of what might happen with all conservatives who fight this same battle, and even though the film ends with a perceived loss on his side, Cruise still shows that politicians will keep fighting, no matter what side of the fence their on.

Charlie Babbitt in Rain Man

It is true that everyone remembers this movie, but Cruise immediately takes a backseat to Dustin Hoffman, who won the Best Actor Oscar in 1988. And in all honesty, that’s the way it should be. Still, that doesn’t mean Cruise delivers a worthy performance in Hoffman’s shadow. Cruise is the audience’s view, since little was known about autism at the time. He represents all of our fears and frustration when encountering someone with this condition and then, after getting to know them, starts to see the actual person. His ending isn’t even a real happy one, but Cruise takes on a journey that we could not have done alone and allows us to grow with him.

Reviews: Wall-E & Wanted

Hi, Robot

Pixar is Pixar, it will always win. This famous studio which began winning Oscars in short films (this feature has one with a frustrated magician fighting his famished, tenacious rabbit) has now built itself up as the studio winning Oscars for their feature films. Very good directors have been awarded the chance to bring their creative visions to the icon studio. My personal favorite still remains Brad Bird, who championed two Oscars for The Incredibles and Ratatouille. While I don't think this particular film is the absolute best from Pixar, I still believe that it is a worthy entry that deserves every bit of recognition it gets.

The little robot "Wall-E" (which is an acronym for Waste Allocation Load Lifter - Earth class) is the lone garbage man on Earth after the planet becomes completely uninhabitable due to the surplus amount of trash supplied by humans. Wall-E and his sole Earthly companion, an indestructible cockroach, enjoy a solitary world in which Wall-E becomes more interested in building a friendship (via his obsession with Hello, Dolly!). One day, however, he (for all purposes, we'll call it a he) gets a visit from a spaceship and a sleek, eggshaped robot, Eve (who, for all purposes, we'll call a she). Eve is sent to determine the stability of life on the planet and eventually forms a slight bond with Wall-E. That is until she returns to her spacecraft, for which he tags along, and discovers the ship that holds humans in the gluttonous conditions.

At the heart of Wall-E, which is present in all of Pixar's films, is a good natured story that has a character to match. Wall-E may seem like an unusual character to put in a lead role, especially considering the fact that he remains silent except for a few squeaked out words in robot tongue. However, he manages to create a real connection to the audience, and he is very endearing. The same can be said of Eve and an annoyed cleaning unit named M-O (who gives a new worthy phrase: "foreign contaminant"). The human element, which has been known to be missing in Pixar films, is severely limited here, although we do get clever voice performances from Jeff Garlin, Sigourney Weaver, Pixar regular John Ratzenberger and even Fred Willard, who is actually the only live action performer in the film.

The film's wonderful story and characters are matched equally by its marvelous technical elements. The wonderful sound design for one is magnificent and the sleek animation is really what is the highlight here. There is also a special mention to the magnificent score by Thomas Newman, an 0-8 Oscar competitor who should score his ninth (and possibly tenth with the original song) this year. In fact, I'd be in strong support for his first ever win that would return Disney's long held, and now lost, status in the musical Oscar categories.

While the film is very enjoyable, it does suffer from one element, and that is a twist in the story's last act that I feel is a cheap shot and a cliche. While normally I would think this is only a minor complaint, I find it more irritable because the whole movie actually dares to be different and take on a darker tone than most animated films in the past. The fact that the direction it takes also subtracts some of the impending doom and menace from a certain element means their risk only goes so far. However, it is only one complaint that I do not take very far. I still love this film, and I love the fact that Andrew Stanton, who previously won an Oscar for Pixar's current biggest hit Finding Nemo, has chosen a story that might not be well received across the board. I find it a commendable effort, and I hope that Stanton, come early next year, will have something else in common with Brad Brad. ***1/2 / ****; GRADE: A-




Dead, nor Alive

Here we go again. The fast paced world of comic book adaptations rears its occasionally ugly head again for this rip roaring action film. Many will be intrigued by this stylish film, and I will admit that there are times when the impressive style does just that. However, I would be guilty of some kind of unethical process if I didn't offer some kind of warning with this film, and it is why I can't really recommend this film.

The story follows Wesley Gibson, played by budding actor James McAvoy, who is unhappy with current cubicle ridden life along the ugly streets of Chicago (the Windy City will make another appearance in the coming weeks under the pseudonym Gotham City). However, his irritable life is interrupted when he gets a visit from Fox (Angelina Jolie) in the grocery store. Following a big shootout, we discover Fox and a group of other assassins called The Fraternity that have made it their duty to take out necessary targets. Morgan Freeman cashes in a paycheck role as Sloan, the current leader of the Fraternity, who reveals that Wesley must train to become a top notch assassin in order to take out the rouge agent that recently killed his father. They have faith because Wesley has a special gift that makes his heart beat faster and operate with highly developed senses (it's like a blend of spidey-sense and Matrix slow-mo).

I like McAvoy, but it seems like when he loses that nice accent, he also loses a bit of that European charm. His problems might also extend from the fact that his character is poorly developed and is actually not someone to really root for. Everyone else glides along in their respective roles and with the exception of an occasional stunt, they don't really offer that much. Although, I do give credit to Freeman for being able to pull of the line "Shoot this motherfucker" so well that it almost covers the price of admission.

Director Timur Bekmambetov makes his English language film debut here, and something definitely gets lost in the translation. Bekmambetov relies heavily on an overtly visual style, and in some parts it does work. Most of the time, however, it only serves as a reminder that the foundation that is the script is so inherently weak that the visuals have to compensate. I'm sure this director can work magic in his own language, but a film needs much more than nonstop action all the way through. People need to breath at some point and, sometimes, actually be given at least ONE stunt that is halfway believable.

In a few weeks, The Dark Knight will be released in the theatres and it will probably be heavily praised. The reason: Christopher Nolan not only creates an exciting action picture but also grounds it in a state of reality with a believable story and characters. Even other successful comic book adaptations, such as Spider-Man 2, work because the characters became very developed without losing the action potential. Wanted tries so hard to compensate for its weak story that it overdoses on the visuals. Some might be turned on by this, but I was not. I hope future comic book adaptations, or maybe even a possible sequel, can become more invested in characters and story because they would then realize that's all they need. ** / ****; GRADE: C

Review: The Incredible Hulk

Green with Envy

It's hard to imagine a film like this could make another filmmaker jealous. But it is certainly an interesting thing to wonder. Everyone remembers the colossal failure that Ang Lee brought to audiences five years ago with his imagining of Hulk. Lee's problem was that he put too much confidence in the American movie-goer, thinking that those who praised his balance of action and story in Crouching Tiger, Hidden Dragon would also be pleased with his re-imagining of the comic story by replacing slam-bang action with brooding and cerebral brain puzzles. This time around, however, the new behemoth green man has a lot more of the former category, and will probably be more pleasing to today's audience.

The total revamp of the series puts David Banner (Edward Norton) on the run from the military in remote places on the globe. His threat is not only that monster lurking inside of him, but also General Thaddeus Ross (William Hurt). Originally in Rio, Banner gets chased and smashes his way back to New York where his lovely girl from the past Betty Ross (Liv Tyler) awaits to aid him in his endeavor. However, Banner soon finds bigger problems at hand: Ross has taken another soldier (Tim Roth) and turned him into another hulk-like creature known as The Abomination.

Many would argue that this is a far superior version than Lee's film, and in some parts that is true. As an action film, it well establishes itself as a loud epic that devotes much of its screen time to big explosions, giant car crashes and a great loud roar from the big green guy. It also succeeds in making the Banner character just as interesting as the Hulk, which was something Eric Bana had difficulty doing during his time. Norton is a fine actor, and there is never one moment when he loses us, even when he is forced off screen by the CGI Hulk. Unfortunately, that's all that can be said of the cast. Everyone else, even the all important love interest played by Tyler, are just cookie-cutter stereotypes of of how these characters should be played.

The other change that the new film has is its director. Louis Leterrier has very strong action roots, making such masterpieces as The Transporter, Unleashed, and the unjustly Oscar-snubbed Transporter 2. Leterrier can indeed bring his audience in for some heart pounding action that gets the adrenaline pumping, but more than once it seems like that's all he can focus on. After the tenth loud noise, one tends to realise that this movie likes banging things around and keep its lead character moving without really acknowledging why. He makes up some of these faults with his numerous homages to not only the comic book, but also the 1970s television show. Whether it's the underscore using the series' closing piano notes, or the cameo appearances by Lou Ferringo (who also provides the voice of the Hulk) and even the late Bill Bixby (provided by footage from his days on "The Courtship of Eddie's Father"), the winking to audiences puts a smile on the face. However, those quips quickly dissolve into the action scenes that run a little too long.

This will be more praised than the original film, and more than likely will be more profitable. It succeeds here, it fails there, but it is definitely a film that provides a good time at the show. When the figures of the earnings start to come in, everyone involved will be celebrating. But where will Ang Lee be? He'll probably be admiring his Best Director Oscar and waiting to see if Letterier will see him at the Oscars with Transporter 3. That thought should put the same smile on Lee's face as everyone elses. *** / ****; GRADE: B