| | | The inner beast will be released.
Features: DVD, Widescreen, Special Edition, Dolby, Dolby Digital (5.1), English, Spanish, French
The larger-than-life Marvel Super Hero the Hulk explodes onto the big screen! After a freak lab accident unleashes a genetically enhanced, impossibly strong creature, a terrified world must marshal its forces to stop a being with abilities beyond imagination.
"Two Thumbs Up!" Ebert & Roeper
"This is a superhero movie that really captures the essence of comic book pop art." Richard Roeper, Ebert & Roeper
"The Special Effects are Astonishing!" Jeffrey Lyons, WNBC-TV, New York
"An Action Extravaganza!" Joe Morgenstern, The Wall St. Journal
"Powerful with Spectacular Action!" David Ansen, Newsweek
"Hulk, quite simply, smash." Scott Weinberg, Filmcritic.com
Editor's Note
THE HULK, adapted by Ang Lee (CROUCHING TIGER/HIDDEN DRAGON, THE ICE STORM) 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. Posing a threat to the country that is treated like a natural disaster, the hulk attracts the attention of the military. They respond by chasing the hulk with helicopters, machine guys, 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.
| Features | Anamorphic Widescreen Presentation | | Audio: English, French, Spanish Dolby Digital 5.1 Surround | | Subtitles: French, Spanish | | Ang Lee Editing Style | | The Making of Hulk | | DVD-ROM Features | | Evolution of The Hulk | | The Incredible Ang Lee | | The Dog Fight Scene | | Deleted Scenes | | Cast and Filmmakers | | Hulkification | | Feature Commentary with Director Ang Lee | | Hulk Cam: Inside the Rage | | Superhero Revealed: The Anatomy of the Hulk |
| Technical Info
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Release Information
| | Studio: Universal |
| Release Date: 9/16/2008 |
| Running Time: 138 minutes |
| Original Release Date: 2003 | | Catalog ID: 22489 | | UPC: 00025192248924 | | Number of Discs: 2 |
Audio & Video
| | Original Language: English | | Available Audio Tracks: English [CC], English, French Dubbed, Spanish Dubbed | | Available Subtitles: French, Spanish | | Video: Color |
Aspect Ratio | | 1.85:1 |
| Cast & Crew
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| | Professional Reviews | Rolling Stone
"...[Bana] brings a simmering power to the role....Lee's technique is impeccable..." 07/10/2003 p.75USA Today
"...Taken individually, the leads bring serious-minded competence to roles..." 06/20/2003 p.5E Los Angeles Times
"...Bana and Nolte play their parts with the touching sincerity of actors performing great tragedy....There are beautiful set pieces in THE HULK..." 06/20/2003 p.C1 Variety
"...[An] impeccably crafted piece of megabuck fantasy storytelling....Technically vibrant and resourceful..." 06/16/2003 p.25 Chicago Sun-Times
"...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..." 06/22/2003 p.31 Sight and Sound
"...HULK is richly mythopoeic and sophisticated....The best Marvel adaptation so far..." 08/01/2003 p.34 Total Film
"...Eric Bana excels as Hulk's alter ego..." 08/01/2003 p.92-3 James Berardinelli's ReelViews 9 of 10
By now, it is well known that the Hulk is an entirely computer-generated entity (although he borrows heavily from Bana's features). Reports about the quality of the CGI work have varied, but I found it to be exceptional. The face is fully expressive (there are some remarkable close-ups), the body moves realistically, and the interactions with real people and objects are flawless. Sure, there's something larger-than-life about the Hulk, but this is, after all, a comic book movie. It also seems that the visual effects were tweaked slightly after the trailer was made, because they look more polished. - James Berardinelli
L.A. Times 9 of 10
Bana and Nolte play their parts with the touching sincerity of actors performing great tragedy, while the equally sympathetic Connelly spends a surprising amount of time weeping. But what's missing from their performances and almost every frame is the overblown pleasures of mass art, that quality of fun, fizz and freakiness that makes pop not just an adjective but a verb. Maybe Lee is too nice for the hard sell. There are beautiful set pieces in Hulk-the image of a human eye morphing into a detonated bomb is breathtaking-and Lee even dices his mise-en-scne into pieces to replicate the paneled look of comic books. However nifty, his Cubist gambit fails to capture the graphic tension that makes great comic-book art jump off the page and great pop movies jump off the screen with pow, zap and wow! - Manohla Dargis
Chicago Sun-Times 8 of 10
The movie has an elegant visual strategy; after countless directors have failed, Ang Lee figures out how split-screen techniques can be made to work. Usually they're an annoying gimmick, but here he uses moving frame-lines and pictures within pictures to suggest the dynamic storytelling techniques of comic books. Some shots are astonishing, as foreground and background interact and reveal one another. There is another technique, more subtle, that reminds me of comics: He often cuts between different angles in the same closeup--not cutting away, but cutting from one view of a face to another, as graphic artists do when they need another frame to deal with extended dialogue. - Roger Ebert
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