hulk

Talking Movies [HulkaMAYnia]: The Death of the Incredible Hulk

Dr. K2 Comments

Since his explosive debut in May 1962, Stan Lee and Jack Kirby’s gamma-irradiated Jade Giant has been one of their most recognisable and successful characters thanks, in large part, to the Incredible Hulk television show (1977 to 1982) catapulting the Hulk into a mainstream, pop culture icon. The Hulk has been no slouch in the comics either, being a founding member of the Avengers and undergoing numerous changes that have made him one of their most versatile and enduring characters, so what better way to celebrate all things Big Green than by dedicating every Sunday in May to the Green Goliath?

Released: 18 February 1990
Director: Bill Bixby
Distributor: New World International
Budget: Unknown
Stars: Bill Bixby, Lou Ferrigno, Elizabeth Gracen, Andreas Katsulas, and Philip Sterling

The Plot:
Desperate to rid himself of his destructive alter-ego, the Hulk (Ferrigno), Doctor David Banner (Bixby) poses as a janitor to gain access to a research facility he believes may be the key to finding a cure. However, when the kindly scientists assisting him are kidnapped, he must join forces with an unlikely ally and once again rely on his monstrous persona to rescue them.  

The Background:
The brainchild of Marvel Comics legends Stan Lee and Jack Kirby after learning of a hysterical mother exhibiting superhuman strength, the Hulk initially struggled to find an audience with Marvel readers but shot to fame thanks to his popular television show, The Incredible Hulk (1977 to 1982). The show ran for eighty episodes and firmly established the Green Goliath in the cultural consciousness thanks to coining the unforgettable “Don’t make me angry. You wouldn’t like me when I’m angry” line and standout performances by star Bill Bixby and Lou Ferrigno, who would forever be associated with the character. About six years after the series finale, the first of three made-for-television movies was produced; apparently intended as a backdoor pilot for Thor (Eric Kramer), The Incredible Hulk Returns (Corea, 1988) was successful enough to warrant a follow-up that was also hoped to be a pilot for a potential Daredevil spin-off. The Trial of the Incredible Hulk (Bixby, 1989) was met with mixed reviews, but a third film followed regardless; initially believed to have featured the debut of Jennifer Walters/She-Hulk, The Death of the Incredible Hulk ultimately spelt the end for the long-running series following Bixby’s untimely death and plans for a fourth film that would’ve merged Banner’s intelligence with the Hulk’s strength were shelved.

The Review:
Growing up as a kid in the nineties, it was kind of tough for comic book fans such as myself; DC Comics characters received the most representation in live-action media at the time, so we mostly had to console ourselves with the awesome Marvel cartoons that aired during this period. If we wanted to see live-action interpretations of Marvel’s colourful heroes, we had no choice but to turn to the made-for-television efforts of the seventies and eighties but, honestly, I remember being awestruck seeing the likes of Peter Parker/Spider-Man, Steve Rogers/Captain America, and the Incredible Hulk brought to life in live action. Expectations were much lower then, and I was just a naïve youth who had no idea that these characters would come to dominate cinema screens so successfully; plus, The Incredible Hulk wasn’t airing on any channel I could watch at the time, so having access to these TV movies was seen as blessing. I say all this to provide a little historical context for the nostalgia I feel towards Bill Bixby and Lou Ferrigno’s efforts on The Incredible Hulk; while I actually have come to find many of the episodes I have watched to be quite laborious, I have a great appreciation for the TV movies giving me the briefest glimpse of the potential these characters had in live-action.

Banner finds himself with a surrogate family who enthusiastically try to help rid him of his curse.

The movie opens to find Banner now posing as “David Bellamy” and disguising his genius behind the persona of a well-meaning, but a mentally-challenged, janitor in order to secretly access to Doctor Ronald Pratt’s (Sterling) research on human healing. This masquerade allows Banner to win the hearts and sympathies of his co-workers, the security guards, and Dr. Pratt, who all see him as a harmless, if forgetful and easily confused, middle-aged man. Interestingly, Banner maintains this masquerade outside of work, and this, as much as the pocketful of cash, makes him an easy target for a group of street punks. Naturally, this triggers a transformation into the Hulk, which only accelerates his search for a cure; it turns out that Banner has been watching the routines of the guards, meaning he’s able to trick them with a tape recorder into thinking he’s left for the night, and has access to Dr. Pratt’s lab thanks to knowing his keycode. Luckily for Banner, the facility doesn’t have any security cameras, so he’s free to work throughout the night using Dr. Pratt’s resources, making corrections to his formulas in the hopes of finally discovering a cure to his monstrous affliction. Banner’s alterations to Dr. Pratt’s formulas do not go unnoticed, however; he’s stumped to find his notes changed for the better and incredulous when his wife, Amy (Barbara Tarbuck) suggests that his invisible partner is a ghost. Determined to find out who has been able to slip past the facility’s “high security”, Dr. Pratt hides out in his lab late one night and is shocked to find David is his mysterious helper; however, he’s even more shocked when David reveals his true identity, and is eager to hear about Banner’s research and what’s driven him to such desperate measures. Sympathetic to Banner’s plight, and believing that he can cure him while also potentially benefiting others by studying the Hulk’s incredible healing abilities, Dr. Pratt convinces Banner to work with him and, over the course of a heart-warming montage, Banner is taken in by the Pratt’s and becomes something of a surrogate son to them. After so many years alone and on the run, Banner is clearly grateful to have friends around him for the first time in forever; he forms a fast friendship with Dr. Pratt and Amy, who welcome him into their home and work with him to construct a machine capable of containing the Hulk and turning his strength against him. Dr. Pratt is infuriated when his superiors threaten to shut his experiments down unless he turns his research towards military applications, and they’re thus given one chance to rid Banner of the Hulk forever, and Banner is fully accepting that the procedure could cost him his life.

Jasmine, mistress of disguise, faces stern reprisals when she fails to steal Dr. Pratt’s research.

Unfortunately, Dr. Pratt’s Gamma research attracts the attention of Kasha (Katsulas),a powerful underworld figurehead who wishes to obtain the doctor’s secrets and sell them to the highest bidder. To fulfil this objective, he blackmails Eastern European spy Jasmine (Gracen) into taking on the assignment; having “served” Kasha since she was fourteen, Jasmine believes that she has completed her duty to her employers, who seem to be a kind of vaguely defined religious organisation. Somewhat akin to Natasha Romanoff/The Black Widow, Jasmine is a much-accomplished spy whose favoured tactic is to adopt a series of disguises and false identities to get close to her targets, usually luring them in with her sexuality, and take information from under the noses. Although she has no wish to further serve Kasha, she is easily overpowered by his sadistic henchman, Zed (Joh Novak), and compelled to obey when Kasha reveals that their sect’s mysterious new leader, Ashenko, threatens the life of Jasmine’s beloved sister, Bella (Anna Katarina). Jasmine throws on her best wig and fake accent to seduce one of the facility’s security guards and take his fingerprints, then disappears amidst the crowd with a simple costume change in order to pose as Betty (Chilton Crane), another of the lab’s security guards. Unfortunately for Banner, Jasmine chooses to carry out her mission at the exact moment that he’s strapped in to Dr. Pratt’s machinery, forcing Dr. Pratt to shut down the experiment and costing Banner his last, best chance at a cure. Naturally, this causes Banner to Hulk-out and his monstrous alter ego to be blamed for the resulting destruction and Dr. Pratt’s injury, despite the fact that he carried the comatose scientist to safety, and Jasmine is reprimanded for having failed in securing the data Ashenko required.

Banner and Jasmine’s romance is cut short when he’s compelled to save his loved ones.

Amy is as devastated by Dr. Pratt’s condition, which sees him lost to the slumber of a deep coma, as she is concerned for Banner’s safety; she covers for him when federal agents finger him as one of three terrorist infiltrators (with Jasmine and the Hulk being the other two) and creates a distraction so he can slip away. However, with Dr. Pratt incapacitated, Jasmine’s only lead is also Banner, which leads to him being pursued by Kasha’s minions; having seen her efforts to try and pull Dr. Pratt to safety in the lab, and unable to simply allow Kasha’s men to kill her in cold blood, Banner lashes out when she’s ordered to be killed and she’s left both distraught and shocked when her friend and minder, Pauley (Mina E. Mina), tells her with his dying breath that Ashenko is Bella and has taken control of their cause. Banner aids Jasmine after she she’s injured by a gunshot; despite her horror at Banner’s affliction, Jasmine helps Banner to get to Dr. Pratt in gratitude for his assistance and, thanks to his knowledge of Dr. Pratt’s work and life, Banner’s able to help wake him from his coma with an emotional plea. After Banner Hulks-out and Jasmine sees the tortured horror of the Green Goliath, the two enter into an unexpected romance in her secluded cabin; both are being hunted, both have spent years alone and being used or forced into being a weapon, and both are eager to escape from the world. However, their hopes of starting a new life together are dashed when Jasmine’s past comes back to haunt her; Bella has Dr. Pratt and Amy apprehended in the hopes of discovering his formula, and Banner is compelled to intervene, a decision that not only causes great dismay to Jasmine, who simply wants them to run away together and be free, but also ultimately spells the end of Banner’s long nightmare.

The Nitty-Gritty:
It’s a bit of a shame that The Death of the Incredible Hulk is lumbered with this uninterested spy-story subplot; maybe if Jasmine had been the Black Widow, that might have made it a bit more compelling (and also would have tied into the TV movies guest starring other Marvel heroes), but Jasmine’s not an especially interesting character and it’s difficult to really care to much about the cause she once served. The mid-movie reveal that Bella is the mastermind behind this malicious organisation doesn’t really carry too much weight for me as Banner was constantly running afoul of the criminal underworld and they took many different names and forms. It also doesn’t help that Bella, despite her steely demeanour and cold-hearted vindictiveness, isn’t as charismatic as Kasha or alluring as Zed, so she doesn’t make for a very interesting villain since all we really know about her is that she wants Dr. Pratt’s formula and will do anything to get it, including ordering her sister’s death.

The Hulk remains a highlight, and performs a number of heroic feats despite his reputation.

As ever, it’s the Hulk himself who proves to be the main highlight of the film for me; Lou Ferrigno absolutely dominates the screen with his stature, physicality, and animal fury and there’s some fun scenes of him tossing around street punks, crashing through walls, bending steel, and holding back two diggers to help sell the Hulk’s rage and strength. More than ever, the Hulk is treated as a devastating affliction that Banner is desperate to be rid of; obviously, by this point, Banner has lived with the Hulk or many years, and been on the run so long and lost so much that he’s literally at the end of his tether and just wants to be rid of the beast. In recounting his arrogance and impatience to harness humanity’s capacity for superhuman strength, Banner muses that the Hulk is a mutation, something inhuman, and perhaps a missing link in mankind’s evolutionary process, which firmly paints the beast as a disease that could one day cause serious harm to others. Thanks to Dr. Pratt’s experimentations, Banner is able to see the Hulk for the very first time and is utterly horrified by the beast’s rage and monstrous appearance, and yet there is still the capacity for good within the Green Goliath; not only is the creature generally depicted as either reacting ins elf-defence or coming to the aid of others (such as Jasmine), but it’s superhuman ability to heal wounds potentially spells a medical breakthrough for Dr. Pratt’s research. Indeed, both Banner and Dr. Pratt are not just in awe but almost terrified at the Hulk’s healing ability, which has left Banner without a physical scar but also haunted by his uncontrollable alter ego, which is functionally immortal. Banner theorises that catastrophic damage to the creature could kill it, but he’s more focused on ridding himself of the beast so that he can be fully human again, which leads to a series of tests being conducting by the two scientists to better understand the nature of the Hulk. Thanks to Dr. Pratt’s resources, the beast is effectively caged behind an energy field, and the movie goes a little further than its predecessors in examining the complex relationship between Banner and the Hulk since he sees it as a threat to others that has stolen his life, Dr. Pratt sees it as a once in a lifetime chance to potentially cure all diseases, and Amy believes that the creature is more human than either of them will admit.

Ultimately, the fall is too devastating for even the Hulk and Banner finally finds his freedom.

At first glance, it seems as though the movie’s title is referring to the fact that Banner will finally be rid of his monstrous alter ego, however it quickly becomes apparent that Dr. Pratt’s research is yet another dead end for the ill-fated Banner thanks to the machinations of Kasha and Bella. When Dr. Pratt and Amy are kidnapped, Banner’s last chance to escape the world with his newfound love is dashed as he cannot simply walk away from his surrogate family, and Jasmine begrudgingly leads him to an airfield, where Bella uses every means at her disposal to try and forcibly extract the information she requires from Dr. Pratt. Although Jasmine is unable to reach her sister, who has fully bought in to the brainwashing of her righteous cause, the two lead the Feds to the airfield, providing them with the backup and firepower they need to stave off Bella’s men; in the fracas, Bella guns down Kasha, the Pratts are rescued, but Bella and Zedd manage to escape in a small aircraft. The horror of seeing the two trying to run down jasmine is enough to trigger one last Hulk-out in Banner, who sprints across the landing strip and confronts the two aboard the plane. Naturally, Bella tries to fire on the Hulk but succeeds only in destroying the craft in mid-air, causing the Hulk to dramatically and tragically plummet to the cold concrete below. Having suffered a catastrophic fall, the Hulk is barely clinging to life and even his incredibly healing powers aren’t enough to save Banner this time; as Dr. Pratt and Amy look on, heartbroken, Jasmine begs Banner to stay with her and he bids her an emotional farewell, seemingly grateful to finally be free of his nightmare in death. Sadly, as poignant as this moment is, it is somewhat undermined by the ridiculousness of the Hulk’s plummet; filmed in slow motion and accompanied by a melancholy song, it’s hard not to focus on Ferrigno’s eye-popping face expressions. Thankfully, Banner’s final words (“Jasmine…I am free…”) and Joe Harnell’’s “Lonely Man” theme kick in just in time to allow Banner’s death to have the required emotional impact (there’s a definite sense of relief that he’s finally found the freedom he’s long searched for), but I can’t help but feel a slower, more tragic rendition of “The Lonely Man” would have been soundtrack enough for the character’s unexpected swansong.

The Summary:
Well, this was a sadly anticlimactic, disappointing, and forgettable end for the Jade Giant. It’s a shame that so many compromise shave to be made to appreciate The Death of the Incredible Hulk; obviously, there was no budget or the technological ability to have the Green Goliath go out in a blaze of glory like we’d see in the comics, making for an inconspicuous death that’s really selling the Hulk short. Long-term fans of the TV show, however, or those with little knowledge of the character outside of the show, would potentially have more to gain from this final outing. The story being told is decent enough; Banner has clearly reached a point that’s beyond desperation where he’s willing to accept the freedom offered by death if it means being rid of his curse. The exploration into the Banner/Hulk dynamic was interesting, and one not really explored in the same way in the previous two films, but isn’t capitalised on as well as it could have been. I think I would have preferred to see a less literal death and maybe more of an understanding between the two where Banner accepted that the Hulk was part of him and thereby, maybe, overcame his rage and hinted towards a merger of the two characters. Instead, that’s kind of swept aside in favour of reinforcing what we already know about the Hulk; he’s once again a rage-filled monster who’s ruined Banner’s life but it’s pretty clear that he just wants to be left alone, only lashes out at those who seek to harm him (or were harming Banner), and goes out of his way to protect others. Ultimately, the Hulk chooses to pursue those who’ve hurt his friends and loved ones and it costs him his life, but I think it might’ve been equally interesting if the Hulk had sacrificed himself to allow Banner to survive the fall, thereby proving Amy’s theory that he’s more human than anyone would care to admit. Sadly, we never got to see Bixby reprise his iconic role or to see the surely bat-shit crazy way that the producers would have undone this ending, which remains a relatively tragic finale for the character that really belongs in a far better movie.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever seen The Death of the Incredible Hulk? What did you think to the relationship between Banner and the Pratts? Were you hoping to see Banner finally cured of his affliction? Did you enjoy the spy subplot and what did you think to Jasmine? Did you believe her romance with Banner? What was your reaction when the Hulk plummeted to his death? What’s your favourite Hulk story, character, or piece of media? How are you celebrating the Hulk’s debut this month? Whatever your thoughts on the Hulk, feel free to leave them below after signing up or drop a comment on my social media.

Screen Time [HulkaMAYnia]: She-Hulk: Attorney at Law

Dr. K5 Comments

Since his explosive debut in May 1962, Stan Lee and Jack Kirby’s gamma-irradiated Jade Giant has been one of their most recognisable and successful characters thanks, in large part, to the Incredible Hulk television show (1977 to 1982) catapulting the Hulk into a mainstream, pop culture icon. The Hulk has been no slouch in the comics either, being a founding member of the Avengers and undergoing numerous changes that have made him one of their most versatile and enduring characters, so what better way to celebrate all things Big Green than by dedicating every Sunday in May to the Green Goliath?

Air Date: 17 August 2022 to 12 October 2022
Network: Disney+
Stars: Tatiana Maslany, Todd Phelps, Jameela Jamil, Josh Segarra, Ginger Gonzaga, Tim Roth, and Mark Ruffalo

The Background:
Following the incredible success of the Incredible Hulk television show, Marvel had Stan Lee create a female counterpart to the Green Goliath to beat Incredible Hulk producer Kenneth Johnson to the punch. A powerful feminist icon for Marvel who has been a member of the Avengers and the Fantastic Four, She-Hulk shared the spotlight with her cousin in the Incredible Hulk cartoon from the nineties and very nearly got her own live-action movie back then, too; Brigitte Nielsen was even cast to bring the character to life at the time. Decades later, Marvel Studios announced that She-Hulk would be joining the Marvel Cinematic Universe (MCU) with a nine-episode series streaming exclusively on Disney+, with Kat Coiro placed as the guiding hand behind the series and Tatiana Maslany cast in the dual role. She-Hulk’s visual effects were the work of multiple effects studios and initially caused some premature backlash, and the show promised not only to feature Mark Ruffalo as Doctor Bruce Banner/The Hulk in a mentor role but also the long-awaited return of Tim Roth as Emil Blonsky/The Abomination. After being delayed due to COVID-19, She-Hulk: Attorney at Law released to largely positive reviews; critics praised the performances and interpersonal slant towards a legal drama, and the comedic aspects were particularly lauded. Others, however, were not so impressed; some criticised the pacing, the CGI effects were a massive point of contention, and the show was slandered by online trolls throughout its run. Regardless, She-Hulk was also praised as an empowering series for female viewers that tackled the subject toxic masculinity and was highly regarded if only for returning a beloved, seemingly forgotten MCU character to the franchise. Finally, unlike other Disney+ MCU shows, Kevin Feige stated that She-Hulk had the potential to not only gain additional seasons but to also cross over into the MCU’s big-budget feature films.

The Plot:
After a car crash sees her blood contaminated with the Gamma-irradiated blood of her cousin, Bruce Banner, lawyer Jennifer Walters (Maslany) finds herself able to transform into a superpowered hulk. As she tries to adapt to her new situation, she tackles a series of unique superhero court cases and finds herself targeted by a slanderous online smear campaign.

The Review:
She-Hulk: Attorney at Law begins in medias res; Jen is already capable of becoming She-Hulk, her best friend and paralegal Nikki Ramos (Gonzaga) is aware of her abilities, and she immediately showcases her additional ability to address the audience to catch us up with her origin story. Jen was on a road trip with Bruce and the two of them were involved in a car crash caused by the sudden appearance of a Sakaaran spacecraft. While rescuing Bruce from the wreckage, some of his blood drips into her wound, instantly transforming her into a savage hulk in the first of many call-backs to the pilot episode of The Incredible Hulk. Disoriented and dishevelled, she’s unquestionably supported and fixed up by a gaggle of helpful women at a bar but is triggered by a group of pushy guys before being tackled by the Hulk and brought to his secluded island laboratory for testing and training. Jen is distraught at the idea of being handicapped by such a life-destroying condition and immediately annoyed and critical of the Hulk’s attempts to mentor her; this ends up going both ways, however, as the Hulk’s lifelong syllabus on controlling his rage is rendered mute by Jen’s natural ability to retain her personality and intelligence in her Hulk form since she’s so used to managing her emotions, both in public and at work, to avoid lashing out at every creep or being branded as inferior because of her gender, which allows her to willingly transform at will because, essentially, she’s always angry.

Jen’s transformation into a Hulk causes some major changes to her personal and professional life.

This presents the unique dichotomy of She-Hulk; while the Hulk strived for years to master his abilities and to reconcile his two warring halves, Jen immediately has full control of not only her strength but also her transformations; though she’s physically smaller and less savage than the Hulk, she showcases all of his abilities with the added benefit of greater physical control. However, despite the Hulk’s best efforts, Jen has no desire to abandon her life and her career to be a superhero; after a brawl, he reluctantly agrees to let her live her own life, but things quickly become complicated for the superpowered lawyer when, during a session in court, she’s forced to reveal her dual identity in front of the world when “superpowered influencer” Mary Macpherran/Titania (Jamil) literally crashes in and threatens lives. It takes Jen some time to embrace her superhero identity; she regularly distances herself from the She-Hulk name and constantly downplays the appeal and benefits of being a superhero, and her condition comes to negatively affect her when she’s fired and unable to find work at a conventional law firm. Holden Holliway (Steve Coulter) throws her a lifeline by offering her the chance to join a superhero law division at Goodman, Lieber, Kurtzberg & Holliway (GLK&H); though initially annoyed that she’s been hired to represent clients as She-Hulk and as more of a publicity stunt than for her legal skills, she’s won over by her new office and just being back at work. Unfortunately for Jen, her troubles only escalate; the press constantly hound her, reporting rumours as facts and often belittling her because of her gender, and she’s even forced to set aside her personal bias in order to represent Emil Blonsky/The Abomination (Roth) at his parole hearing. This all comes to a head when Titania releases a rage of beauty products using the She-Hulk name and sues her for misuse of the copyright, which ties into a central theme of the series, which revolves around Jen learning to embrace both sides of her personality, the meek and somewhat awkward Jen and the sexually confident and alluring She-Hulk; throughout the show, she takes great strides in reconciling both in the court room by embracing her moniker and even later donning a form-fitting superhero outfit to directly assist others.

Jen’s struggles at romance are compounded by an online group that targets and slanders She-Hulk.

This character growth is full of little stumbles, however. Not only is she faced with an overbearing family who clearly care for her but can’t help but interfere and put her down, her love life is a bit of a shambles. Even after she reluctantly changes her online dating profile to a She-Hulk one, Jen is forced to endure a series of disastrous dates with self-obsessed, disrespectful, and down-right creepy men who either disregard her entirely or care only about comparing her to her more famous cousin, such as the uncomfortably obsessed Todd Phelps (Jon Bass), who later forms an entire online movement, Intelligencia, designed to hate on She-Hulk. Because of this, and Jen’s low self-esteem and desire for attention, it doesn’t take much for Arthur (Michel Curiel) to make an impression; he seems genuinely interested in her and actually engages her in conversation, however he has no interest in Jen and thus isn’t interested in pursuing a serious relationship with her. While attending the wedding of her high school friend, Lulu (Patti Harrison), Jen is surprised to make a connection with the charming Josh Miller (Trevor Salter), especially as she’s forced to stay in her human form so as not to steal Lulu’s spotlight. Josh appears to be the opposite of Arthur; he’s only interested in Jen and never really asks about She-Hulk and they actually take the time to date rather than jumping into bed right away. Unfortunately, after they do sleep together, he ghosts her, driving her to distraction; while she finds a measure of closure and self-respect thanks to some unlikely advice from Blonsky and the gaggle of misfit, rehabilitated supervillains at his retreat, she’s driven into an uncontrollable fury when Josh leaks her personal information, including photos and videos of her, to Intelligencia, resulting in her briefly losing the support of the public and being imprisoned.

Of all the guest stars to feature, Daredevil undeniably steals the show with his long-awaited return.

Thankfully, it’s not all bad news for Jen in the romance department. While he initially rubs her the wrong way by proving to be a competent lawyer, blind, flirtatiously charming Matt Murdock (Charlie Cox) proves to be a suitable confidante and partner after not only encouraging Jen to help others with her powers when the law fails them but also being unmasked as the superpowered vigilante Daredevil. Together, they’re able to rescue a mutual acquaintance, eccentric superhero fashion guru Luke Jacobson (Griffin Matthews), from wannabe superhero-turned-supervillain Eugene Patilio/Leap-Frog (Brandon Stanley) and, in the process, She-Hulk learns a little bit about what it means to be a superhero. The chemistry between them boils over following their fight and the series ends with the suggestion that they’re going to be a regular thing going forward since he joins her and her family for a meal. Although he steals the show in every scene, Daredevil isn’t the only guest star to feature in She-Hulk: Attorney at Law; Wong (Benedict Wong) shows up a few times, first to help with Blonsky’s appeal and then to ask for She-Hulk’s aid in barring disgraced sorcerer Donny Blaze (Rhys Coiro) from threatening the fabric of reality with his reckless magic. Similarly, the Hulk also plays an important role in the first episode; initially appearing as Bruce Banner thanks to a convenient inhibitor, he assumes his “Smart Hulk” form and puts Jen’s abilities to the test. He’s frustrated by her not taking his lessons seriously and tries to emphasise the burden and responsibility of being a Hulk, but ultimately trusts her to live her life her own way and disappears into space for his own side story, one that we’re not privy to but see the results of in the finale when he returns from Sakarr with his son, Skaar (Wil Deusner). We even get a couple of celebrity cameos as David Otunga and rapper Megan Thee Stallion feature in the series but the show’s breakout original character is clearly the brazen Madisynn King (Patty Guggenheim), a career party animal who makes a shady deal with a demonic goat and ends up forming an unlikely bond with Wong over their shared love of television.

While spending a lot of time in court, She-Hulk also explores her duality and self-esteem.

At its core, She-Hulk: Attorney at Law is a superhero comedy with a fair amount of courtroom drama serving as the focal point or backdrop of each episode. Whether it’s Jen trying to find a job in her field, Nikki and their co-workers Augustus “Pug” Pugliese (Segarra) and Mallory Book (Renée Elise Goldsberry) working cases involving shapeshifting elves or immortal cuckolds, rogue sorcerers or bumbling heroes, superhero law is naturally a large focus of the show. Conjecture, hearsay, trademarks, and faulty manufacturing are all elements that need to be addressed in a court of law, just like in normal life, but the superhero slant definitely makes these aspects more entertaining to watch. She-Hulk is often representing or even defending individuals who have wronged her in the past; she puts her neck on the line to vouch for the rehabilitated Blonsky, is called to speak to misogynistic Dennis Bukowski’s (Drew Matthews) stupidity, and is even forced to parade her former dates in order to prove that she identifies as She-Hulk. That’s not to say that the show is without any action scenes; Jen may prefer to use her legal skills more than her fists to resolve conflicts but she gets into a number of scraps throughout the show, often for comedic effect. Her first fight with Titania, for example, is over in a single punch and Jen forgets herself for a moment when she’s jumped by Wrecking Crew – Dirk Garthwaite/The Wrecker (Nick Gomez), Eliot Franklin/Thunderball (Justin Eaton), Henry Camp/Bulldozer (Tennison Barry), and Brian Calusky/Piledriver (Kyle Murillo) – when they try to steal her blood using Asgardian-powered construction tools, before easily dispatching them as She-Hulk. She-Hulk is specifically recruited by Wong to fend off the goblin demons Donny unwittingly summons, and she throws down with Titania again at Lulu’s wedding, much to the delight of the guests, but she chooses to leave the violence to Daredevil when confronting Leap-Frog and instead offers him legal counsel. Indeed, She-Hulk largely subverts a lot of the usual expectations when it comes to action sequences; she openly criticises Daredevil’s reliance on stealth and denies him another fight in a hallway and even finds herself really opening up to Blonsky and the oddball guests at his retreat since they can relate to her identity crisis.

Jen’s so annoyed at the derivative nature of her narrative that she forces the show to change tack for the finale.

She-Hulk’s true enemy here isn’t the monstrous Abomination, who’s now repentant and committed to offering emotional support and spiritual guidance, or even Titania, who’s strength makes her almost as formidable a foe as her spiteful nature. Instead, She-Hulk’s greatest foe throughout the series is toxic masculinity. We get our first taste of this moments into the first episode when Dennis undermines Jen’s abilities and suggests he’s a more capable lawyer than her; he continues to talk down to her even when addressing She-Hulk and, later, refuses to have her or Mallory represent him as he’d rather have a man. A shallow, arrogant little man, he refers to women as “hot chick” and “it” but it’s this delusional nature which ends up winning him the case against catfisher Runa (Peg O’Keef). Although a small-time annoyance, Dennis is just one example of the persecution Jen faces, both as herself and as She-Hulk; when the Wrecking Crew confront her, they accuse her of flaunting herself when she’s simply living her life and the press are constantly using derogatory terms to label her. Very few males treat her as an equal or with the respect she deserves, allowing the likes of Pug, Murdock, and even Blonsky to stand out as they actually engage with her and don’t condescend her or try to undermine her intelligence and abilities. Male chauvinism isn’t limited to just She-Hulk either; Craig Hollis/Mr. Immortal (David Pasquesi) lands himself in hot water after abandoning his many marriages by faking his death, leading to him not only earning Mallory and Nikki’s ire but also being forced to agree to a fair settlement tailored for each of his slighted partners. No male is more troublesome to She-Hulk’s stature than Todd, however; using the online alias “HulkKing”, Todd forms Intelligencia specifically to slander her and create a following of likeminded assholes to steal a sample of her blood so they can take the power they feel she doesn’t deserve. Still, luckily for Todd and his vile followers, Jen herself takes issue with the redundant nature of their plot and literally demands that the show try something a little more original, tailoring the ending into something a little less derivative and seeing that the HulkKing and his cohorts are exposed for the toxic, petty-minded jerks they are.

The Summary:  
There’s a real nasty environment that’s brewed online in the last few years where any product that even dares to try something new or feature a strong female lead, or include any kind of diversity, is immediately labelled as “woke”. Personally, I have no idea what this is supposed to mean and find it extremely degrading as it’s just some catch-all term mindless, anonymous idiots use to slander anything they don’t like. She-Hulk: Attorney at Law deals very heavily in this topic; although she largely ignores her online haters (primarily because she knows they wouldn’t dare say anything to her face), Jen is constantly besmirched and belittled both subtly and explicitly throughout the show. It’s small wonder, then, that she goes on a rampage, one eerily reminiscent of Carrie (De Palma, 1976), when Intelligencia publicly slut shame her at an award ceremony. This ceremony is perhaps the best example of the struggles Jen faces in her career; multiple women are named Female Lawyer of the Year and they’re paraded on stage like it’s a Miss Universe pageant, and Jen even foreshadows this when she quite rightly rants to her cousin about how difficult it is for a women to succeed as she’s slandered the moment she shows any weakness.

She-Hulk’s CGI is admittedly dodgy but other characters fare much better in this regard.

But I know what you want to hear me really talk about: the special effects. First of all, the Hulk looks fantastic; his CGI model is on point, which is to be expected as they pretty much perfected the look in Avengers: Endgame (Russo and Russo, 2019), but still surprising for a television show, especially as a Hulk-centric show seems to me to be one of the more costly MCU projects. Similarly, the Abomination looks really good; I’m really digging his more comic-accurate redesign and even enjoyed seeing him as this rational pacifist rather than some mindless monster, though I will admit that his face was a little off and his transformation was a little too “clean”. She-Hulk suffers from this a bit as well; she simply grows larger or smaller, her custom-made clothes expanding to accommodate her, so we’re largely beyond the days of dramatic transformation sequences for these characters. As for She-Hulk…she mostly looks perfectly fine, but it does vary wildly. Given that she’s not as monstrous as the Hulk, I do wonder if it might’ve been better to use her on-set stand-ins, Maliah Arrayah and Devon Lewis, to actually portray the character and enhance her with CGI, imposing Maslany’s face onto the larger doubles as a modern take on the 1970’s show (something the show does actually do when it lovingly recreates The Incredible Hulk’s iconic opening sequence). I think the things that bother me the most is her hair, which looks like a bad wig most of the time, and her eyes and face, which are a little lifeless and blank at times. It definitely works but it does stick out quite a bit and I can see why people would be distracted by it; low lighting definitely aids the presentation, but I admire how often Jen is seen in broad daylight as She-Hulk. Thankfully, Daredevil is here to again make up for some of these effects; now garbed in a yellow and red number, this is a fantastic return to form for the character, who seems much more jovial and far less bleak than in his Netflix show, allowing him to kick ass and be intimidating but also be a fun and attractive prospect for Jen. Hell, I even enjoyed the Leap-Frog suit and the inclusion of small-time, ridiculous villains like William Taurens/Man-Bull (Nathan Hurd), Alejandro Montoya/El Águila (Joseph Castillo-Midyett), Saracen (Terrence Clowe), and Alexander Gentry/Porcupine (Jordan Aaron Ford). I always enjoy it when live-action adaptations turn to the more obscure and ludicrous characters, and they really worked in the context of this show and played a surprisingly poignant part in shaping Jen’s acceptance of herself and her duality.

She-Hulk’s ability to break the fourth wall results in a unique metatextual humour.

Of course, one major aspect that separates She-Hulk from most comic book characters is her ability to break the fourth wall, which is present right from the start and, while characters occasionally react to this, it’s mostly just played for laughs and ignored. Jen habitually addresses the camera, generally asking us not to judge her, addressing the abundance of cameos throughout the show, and questioning the plot at certain points. This metatextual approach extends to the title sequence, which changes a number of times to reflect what’s happening (such as Jen being out of work, Titania’s lawsuit, and Jen being barred from transforming into She-Hulk). The aforementioned recreation of the 1970’s intro was my favourite instance of this but all this metatextual commentary comes to a head in the finale; after being forced to wear an inhibitor after her rampage, Jen is at her lowest point when Todd transforms into a Hulk-like creature and even Titania and the Hulk show up at the last minute in a chaotic attempt to have all her separate storylines converge. She’s so unsatisfied with the conclusion that she literally escapes to the Marvel Studios: Assembled (Baruh, 2021) documentary to confront She-Hulk’s staff, who are amusingly non-plussed at a fictional character gate-crashing their meeting and direct her to “Kevin”, who turns out not to be MCU executive producer Kevin Feige but an artificial intelligence which makes all of the decisions about the MCU. Somewhat reminiscent of the divisive finale to The Matrix Reloaded (Wachowskis, 2003), Knowledge Enhanced Visual Interconnectivity Nexus/K.E.V.I.N. (Brian T. Delaney) continues the metatextual narrative by asking that she transform back into Jen as she’s “very expensive” and the visual effects team has “moved on to another project” and explaining that it uses advanced algorithms to create “near perfect” products, the quality of which is left up to the internet. Using her legal skills, Jen’s able to argue for more originality in her show, criticising Todd’s plot and the entire finale and demanding that she get the ending she deserves rather than what’s expected. She then goes on to address many of the issues people have with the MCU and even asks about the X-Men before being denied such a boon in the future and left to enjoy her happy ending.

A fun show with some great humour, action, and an empowering message that nicely expands the MCU.

I honestly didn’t expect to enjoy She-Hulk: Attorney at Law as much as I did; like a lot of people, I was mainly watching it to witness the glorious official integration of Daredevil into the MCU but the whole show was really good from start to finish. At nine episodes, it’s longer than usual for a Marvel Disney+ show and there’s an argument that a couple of the episodes could’ve been trimmed down or had their plot points combined into other episodes, but I have no complaints about the length or the content. It was a great introduction to this fresh new Hulk character, one who’s fully capable of defending herself and having a successful career and yet as conflicted and full of doubts as anyone else. Jen’s ability to break the fourth wall helps her to stand out even more and enabled the show to have a fun, carefree vibe while still holding up a mirror to the online trolls and toxic masculinity that is so prevalent in this day and age. While they were only minor roles, I also enjoyed Jen’s supporting cast; her doting, if annoying, family, Nikki’s endless enthusiasm, and Pug’s awkwardness at being forced to integrate with Intelligencia all made for some compelling and entertaining side characters. The courtroom drama was also very enjoyable; I liked seeing She-Hulk coming up with legal loopholes, even if it meant embarrassing herself, to win cases and I’d like to see the second season spend a little more time in the courtroom with some of Marvel’s more colourful and obscure characters. Alterations to the Abomination and the continuation of the Hulk’s mini arc also landed well with me; it was great to see Blonsky back, and cast in a sympathetic light and elevated into something more than just a brutish solider/supervillain and I was left really intrigued to see what’s next for the Hulk family. Yes, She-Hulk’s special effects can be wonky but I fully expect to see this addressed in another season; they work and can be impressive but you will have to get over it to fully enjoy the show. Also, if you’re one of these “woke” crusaders it’s probably better you watch something else as She-Hulk: Attorney at Law is very much geared towards sending a positive message about rising above hate and valuing people based on their ability and merits rather than belittling them because a small-minded minority think of themselves as somehow “superior”.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think about She-Hulk: Attorney at Law? Did the CGI used to bring She-Hulk to life put you off? What did you think to her ability to break the fourth wall? Were you a fan of the legal drama and comedy aspects? What did you think to the Abomination’s character growth and the reintroduction of Daredevil? Did you enjoy the attack on toxic masculinity or was it too “woke” for you? Where would you like to see the character go in the future and are there any She-Hulk storylines or characters you’d like to see included in future seasons? Whatever you think about the show, or She-Hulk in general, leave a comment below or on my social media and be sure to check out my other Hulk content!

Back Issues [HulkaMAYnia]: The Savage She-Hulk #1

Dr. K3 Comments

Since his explosive debut in May 1962, Stan Lee and Jack Kirby’s gamma-irradiated Jade Giant has been one of their most recognisable and successful characters thanks, in large part, to the Incredible Hulk television show (1977 to 1982) catapulting the Hulk into a mainstream, pop culture icon. The Hulk has been no slouch in the comics either, being a founding member of the Avengers and undergoing numerous changes that have made him one of their most versatile and enduring characters, so what better way to celebrate all things Big Green than by dedicating every Sunday in May to the Green Goliath?

Story Title: “The She-Hulk Lives”
Published: 13 November 1979 (cover-dated February 1980)
Writer: Stan Lee
Artists: John Buscema and Chic Stone

The Background:
The Incredible Hulk (and his human alter ego, Doctor Robert Bruce Banner), was another creation of Marvel legends Stan Lee and Jack Kirby. Inspired by a story of a hysterical mother exhibiting superhuman strength to rescue her trapped child, as well as classic movie monsters Frankenstein’s Monster and Doctor Jekyll and Mister Hyde, Lee and Kirby’s allegory to the foils of war initially debuted as a stone-grey figure who emerged at the onset of night. Although The Incredible Hulk was cancelled only a year and a half in, the character returned to a position of prominence thanks to subsequent expansions of his lore and character and the popularity of the Incredible Hulk television show. The eighty episode series not only established the Green Goliath as a mainstream icon but also directly led to the creation of his female counterpart; fearing that Incredible Hulk producer Kenneth Johnson would create a female spin-off as he had with The Bionic Woman (1976 to 1978), Marvel had Lee dream up a She-Hulk first so that they would own the rights, and the character would be the last one Lee created for Marvel until the early nineties. Written as the alter ego of Banner’s cousin, Jennifer Walters, She-Hulk was intentionally cast as a lawyer to promote equality and her original self-titled run lasted 1982, after which she made guest appearances, joined the Avengers and the Fantastic Four, and became known for both breaking the fourth wall and being a strong feminist icon for Marvel. Although a live-action film never came to pass in the early nineties, She-Hulk shared the spotlight with her cousin in the Incredible Hulk cartoon from the mid-nineties and made her live-action debut in the Marvel Cinematic Universe at the tail-end of 2022.

The Review:
Our story begins with a dialogue box amusingly lamp shading Stan Lee’s tendency to get Banner’s first name wrong and finding the fugitive arriving in Los Angeles, California. After being on the run, hounded by the police and the military, ever since his first transformation into the Hulk, Banner has finally reached his limit and is in need of help, so he seeks out his kid cousin, Jennifer Walters, for some solace. I’m not entirely sure where his long-time friend, confidante, and on-and-off sidekick Rick Jones is or if the comics have ever mentioned Jennifer prior to this, but apparently they were extremely close as children, almost like brother and sister. Jennifer works as a successful criminal lawyer and affectionately refers to Banner as “Doc”, but also has absolutely no knowledge of his dual identity so you know what that means! Over the course of six panels and one page, Banner recounts the specifics of his origin and his curse to transform into a rampaging, near-mindless beast whenever angry or panicked thanks to a massive dose of Gamma radiation, and, despite her shock at this knowledge, Jennifer immediately insists that he come back to her home so that she can shelter and help him. Although he’s reluctant because of the inherent danger, she waves his concerns off since her profession means she’s used to living with danger; for example, she’s currently defending a low-level hoodlum named Monkton who’s been accused of murdering mobster Nick Trask’s bodyguard, which she believes is a frame-up.

Banner’s forced to give Jennifer a blood transfusion, transforming her into the Savage She-Hulk!

While she’s confident of her ability and safety, Banner isn’t so sure, and his concerns immediately turn out to be correct as Trask’s hitmen follow them back to her house and put a bullet in her back. Banner’s able to keep calm long enough to fend the gunmen off with a simple garden house and they hit the road to avoid attracting any unwanted attention, leaving Banner to struggle with his rising emotions and to find some way of helping the injured Jennifer. With no time to wait for an ambulance, he carries her over to (and breaks into) a convenient nearby doctor’s surgery and does the only thing he can think of: a blood transfusion with his blood (which, also conveniently, is the exact same as Jennifer’s) which stabilises her long enough for him to call for an ambulance and the police. For some reason, the cops immediately peg Banner as a suspect, especially when he doesn’t have an identification or credit cards, and the stress finally reaches boiling point, causing him to Hulk-out and escape custody (though we only get the briefest glimpse of the Hulk). The next day, Banner is relieved to learn from the local tabloid that Jennifer is doing well and reluctantly makes plans to leave town to avoid his true identity being discovered. However, while recovering in the hospital, Jennifer feels a strange tingling sensation throughout her body but this, and her concerns over Banner’s welfare, are quickly set aside when Trask’s hitmen come in posing as doctors and looking to finish the job they started. As they pin her down and attempt to chloroform her, Jennifer suddenly undergoes her own startling transformation, tossing her attackers aside and looming over them as a huge, muscular, savage green-skinned beauty they dub “She-Hulk”.

She-Hulk’s abilities are more than enough to force a confession and empower her to right wrongs.

Unlike her brutish cousin, Jennifer retains her intelligence and personality when transformed, but the surge of power afforded to her (especially after feeling so helpless mere moments before), causes her to lash out and revel in her newfound abilities. She easily tosses a hospital bed at one of her would-be murderers (probably killing him…) and chases down the others, ripping open elevator doors and hauling the elevator cart up when they try to escape! Though terrified by their pursuer, the hitmen are able to elude her, and she inspires only further fear in the hospital staff and orderlies due to her savage appearance and ceaseless pursuit of her targets. “Throbbing with power” and revelling in her superhuman strength, She-Hulk’s rational mind is somewhat clouded by her absolute rage and, as they try to race away in their car, she easily cripples their vehicle with a well-timed throw of a nearby road sign. She then manhandles one of them until he confesses that Trask hired them to kill her and admitting that it was Trask himself who killed Monkton. This is apparently enough for the nearby cops to arrest the gunmen, and they ultimately let She-Hulk go since “there’s no law against green skin” (and, apparently, destruction of city property, causing an affray, grievous bodily harm, and harassment are all hunky-dory). As She-Hulk flees, her anger fades alongside her incredible strength with it. She successfully makes it back to her hospital room without being seen, returning to her normal, human state just in time, and consoles herself with the knowledge that her newfound monstrous alter ego will be able to handle any threat that comes her way in the future.

The Summary: 
I was expecting a little more from “The She-Hulk Lives”, if I’m being honest. Her bombastic debut issue really could’ve done with being a double-length feature so we would could learn a little bit more about Jennifer and Banner’s past and relationship beyond a couple of panels, and the story almost reads like it could’ve been condensed down a little and been included as a back-up feature in the regular Hulk book. Thankfully, the artwork, writing, and dialogue are much better than what we normally saw in the sixties; unlike many female characters, Jennifer isn’t written as some air-headed bimbo and is actually a pretty capable woman in her own right. She clearly went to law school, or a similar educational institute, and is successful enough to have her own office and to be working on a big case. She’s also incredibly compassionate and loyal to her cousin; she doesn’t judge him for his affliction and offers to help him without hesitation, viewing him as a brother and sure that the two of them can work something out. Finally, she’s pretty self-confident; although he’s usually overly paranoid, Banner immediately recognises that her case against Trask is considerably dangerous but she’s so sure of herself that she doesn’t even consider there being any reprisals against her. Naturally, this ends up biting her in the ass and she nearly dies from a gunshot wound and this (and her subsequent spell in hospital) is the only time Jennifer is portrayed as being weak and in need of help from others.

Although I’d to see more of Jennifer and Banner/Hulk, She-Hulk made a decent impression.

Banner is so panicked at the thought of losing her that he gives her his blood without thinking and, for all his science-smarts, without even considering the effect his Gamma-irradiated blood might have on her. Due to the risk of being exposed and causing unnecessary destruction, he doesn’t even check in on her afterwards and quietly leaves the story without us even properly seeing the Hulk, which is actually to allow the She-Hulk to take centre stage. It’s not explored in this story but it can be assumed that the transfusion was far less potent than Banner’s own Gamma exposure, accounting for She-Hulk’s retained personality and intelligence and less impressive strength, but she’s still a force to be reckoned with in her green state and overcome with anger due to her previous helplessness and the evil of Trask’s men (and, it can be inferred, all such men who seek to undermine and hurt women). I do feel, though, that the story might’ve benefitted from a confrontation between She-Hulk and the Hulk; maybe she could’ve battled him to a standstill and helped calm him down through their shared condition and showing him some compassion. I have no doubt that this probably did happen in a subsequent issue or encounter between the two, but it does mean that She-Hulk’s debut falls a little flat even compared to her cousin’s first appearance since she only exerts herself against a few regular hoodlums. While this opens itself up into a feminist reading about a woman exerting power and dominance over an oppressive patriarchy, I feel that’s more inferred than explicitly showcased in her debut issue and wouldn’t come to the forefront until she was a bit more established.

My Rating:

Rating: 2 out of 5.

Could Be Better

How did you find She-Hulk’s debut story? Did you read it when it was first published and, if so, did She-Hulk leave much of an impression on you or were you expecting something more? What did you think to the concept of a female Hulk and the idea that she is far more stable when transformed? Would you have liked to see her throw down with the Hulk here or were you happy with her rallying against common mobsters? What is your favourite She-Hulk story or moment and how are you celebrating the Hulk’s debut this month? Whatever your thoughts on She-Hulk, go ahead and share them below or leave a comment on my social media and be sure to check out my other Hulk content!

Back Issues [HulkaMAYnia]: Tales to Astonish #90/91

Dr. K3 Comments

Since his explosive debut in May 1962, Stan Lee and Jack Kirby’s gamma-irradiated Jade Giant has been one of their most recognisable and successful characters thanks, in large part, to the Incredible Hulk television show (1977 to 1982) catapulting the Hulk into a mainstream, pop culture icon. The Hulk has been no slouch in the comics either, being a founding member of the Avengers and undergoing numerous changes that have made him one of their most versatile and enduring characters, so what better way to celebrate all things Big Green than by dedicating every Sunday in May to the Green Goliath?

Writer: Stan Lee – Artist: Bill Everett

Story Titles: “The Abomination!”
Published: 10 January 1967 (cover-dated April 1967)

Story Titles: “Whosoever Harms the Hulk…!”
Published: 14 February 1967 (cover-dated May 1967)

The Background:
Created by Marvel legends Stan Lee and Jack Kirby, Doctor Robert Bruce Banner’s monstrous alter ego, the Incredible Hulk, was inspired by the story of a hysterical mother using superhuman strength to rescue her child and classic screen monsters Frankenstein’s Monster and Doctor Jekyll and Mister Hyde. Initially debuting as a stone-grey figure, the character soon gained his trademark green hue and became a fixture of Marvel Comics thanks to expansions of his lore and character and the popularity of the live-action television series. Stan Lee also had a hand in creating some of the Hulk’s most memorable enemies; having birthed the Hulk’s intellectual superior, Samuel Sterns/The Leader, alongside Steve Ditko about three years prior, Lee and artist Gil Kane introduced Marvel readers to one of the Hulk’s most persistent physical rivals, Emil Blonsky/The Abomination, in this two-part tale. Lee came up with monster’s unique name and reportedly instructed Kane to make the Abomination bigger and stronger than the Hulk to make for some fun conflicts. Over the years, the Abomination has been through almost as many changes as his lifelong rival, being a savage brute, a schemer, and a figure of redemption. His impact on the Hulk’s life has been so influential that he’s featured in numerous Marvel cartoons; although he made his live-action debut in the unfairly overlooked The Incredible Hulk (Leterrier, 2008), it would be some thirteen years before he would return to the Marvel Cinematic Universe.

The Review:
Our story begins with the Green Goliath embarking on an unstoppable rampage thanks to the manipulations of a cosmic being I’m personally unfamiliar with but who calls himself “The Stranger”; believing that humanity is a blight that needs to be eradicated, the Stranger has set the Hulk to work wiping the planet clean of humankind’s influence, and the Hulk is only too happy to give in to his anger. Already harbouring a resentment and animosity towards the “puny humans” who hate and fear him, the Hulk wrecks a suspension bridge and prepares to lay waste to a missile base when he’s suddenly hit with an intense pain in his head that not only causes him to fall, but also triggers his transformation back into cursed Gamma scientist Bruce Banner. This has the knock-on effect of severing the Stranger’s mind control, but Banner is terrified at the prospect of the Hulk resurfacing and continuing the Stranger’s work and resolve to destroy the Hulk (and himself, if necessary) once and for all using the “Gamma Ray Machine” he created and which just so happens to be at the very base he’s found himself at.

While Banner broods and Ross blusters, a foreign agent undergoes an incredible transformation!

Nearby, the cantankerous General Thaddeus “Thunderbolt” Ross is determined to root out the man behind a recent assassination attempt on his daughter (and Banner’s flame), Betty Ross; also Major Glen Talbot assures Ross that it’s just a matter of time before the foreign agent is discovered, Ross explodes in anger and demands that they find the perpetrator before they can endanger the missile, giving his men orders to shoot to kill if necessary. Betty is distraught that there’s been no word from Banner for some days and fears for his life as long as he shares a body with the Hulk; she’s so devastated at the idea of losing him that she pays no mind to Talbot’s attempts to insert himself in Banner’s place. Meanwhile, in Banner’s lab, Ross’s spy (whom we know as Emil Blonsky but who isn’t named in this story), is snooping around in the guise of a soldier and trying to snap pictures of Banner’s vaulted Gamma Ray Machine. Although Banner returns at that very same moment, intending to use the machine on himself, he’s spotted and arrested by military police and the smug Talbot, who refuses to listen to his pleas. Amused by the turn of events, Blonsky comes out of hiding and investigates the machine, activating it out of sheer curiosity and bathing himself in an intense dose of Gamma radiation. The result is his instantaneous transformation into a hulking, green-skinned, lizard-like monstrosity; thanks to stepping out of the Gamma rays early, this Abomination is able to retain his intellect and revels in his newfound super strength, which he believes will make him “master of the world–of the whole universe!!” and promptly destroys the machine so that none will challenge his invincibility.

The Hulk is overwhelmed by the superior strength and intellect of his newest foe.

The Abomination’s subsequent rampage through the base catches the eye of the imprisoned Banner, who willingly transforms into the Hulk as only his alter ego has a chance of opposing this new Gamma monster. Ripping open his cell, the Hulk leaps into the fray but quickly finds that the Abomination is not only smarter thanks to not being a mindless brute, but also more powerful as he was conveniently subjected to a more powerful dose of Gamma radiation. Consequently, Ross, Talbot, and Betty can only watch on in horror as the Abomination asserts his dominance and brutally beats the Hulk into unconsciousness, clearly establishing himself as a formidable threat, and that Blonsky is oddly concerned that he wouldn’t survive the military’s counterattack so he kidnaps Betty and flees from the base. Driven to desperation by the events he’s witnessed, Ross has no choice but to order his physicians to try and save the Hulk’s life; while the surgeon is initially baffled by the half-dead creature’s physiology, perennial sidekick Rick Jones bursts into the facility to suggest using Gamma electrodes to revive the beast and, in panels that owe more than a debt to Frankenstein (Whale, 1931), the Hulk lives again! Believing the soldiers are trying to contain him, the Hulk refuses to listen to reason and even swats Rick aside, vehemently denying his tearful pleas for help, until the mention of Betty’s name causes him to calm down and revert back to Bruce Banner.

Although Banner devises a workable plan, the monster’s rematch is abruptly interrupted.

Cutting through Ross’s bluster and inconsolable babble and prejudice, Banner comes up with a plan to lure the Abomination back to them, rather than confront his great power directly, and reconfigure his “Infinite Weapon” to nullify Blonsky’s strength with “Infra-Gamma Beams”. Begrudgingly, Ross orders his technicians and soldiers to follow Banner’s every command as they race to perform the necessary adjustments, and the Abomination willingly returns to the site, drawn by the allure of the Gamma radiation, though everyone, even Rick, is unsure as to how Banner plans to oppose such a fearsome monstrosity. The Abomination bursts into the laboratory, setting down Betty and preparing to finish off Banner, but is surprised when the machine causes him incredible pain and saps his mighty strength. It’s at this key moment that Banner uncontrollable turns into the Hulk and the two Gamma Giants set about having a rematch. Although they bash each other through walls and promise to really go at each other, the Stranger chooses this moment to return to the story; watching from “a thousand galaxies away”, he begins to consider that humanity might not be beyond all hope if a brute such as the Hulk can be so valorous and chooses to take the Abomination for his own needs. He also completely removes the influence he had over the Hulk’s mind but, while he’s met with congratulations and a semblance of gratitude from even General Ross, the Hulk chooses to head back out into the world alone once more.

The Summary:
The Abomination’s debut is much more the type of Hulk story I’m used to; by this point, Bruce Banner’s dual identity is well known and his adventures follow a very simple formula of him wandering around the country, desperately trying to avoid conflict, all while the Hulk threatens anyone and everyone around him and lashes out at those he deems to be a threat. Unfortunately, I didn’t think much to Gil Kane’s artwork, especially on the Abomination and the Hulk’s face, both of which look to little too simplistic and goofy for my tastes. I did enjoy the twist of the normally unreasonably antagonistic General Ross absolutely snapping when the Abomination kidnaps Betty; he’s so traumatised by this that he’s forced to not only rely on the Hulk and Banner for help, but even revive the Green Goliath and order his men to follow Banner’s every instruction. It’s an interesting twist on his usually staunchly anti-Hulk/Banner mindset, kind of like whenever J. Jonah Jameson is forced to eat crow, though I was interested to see that Major Talbot was actually arguing in favour of Ross’s hated enemy on more than one occasion. Similarly, I liked that Banner got to do a little more than just wallow in despair and self-pity; he puts his genius mind to work creating a trap to lure in the Abomination and sap his strength, though it was a little too contrived that all of Banner’s machinery and work just happened to be at this military base. The Hulk is pretty much exactly as he’s always presented, with the added wrinkle that he’s suffering from the influence of the Stranger; this doesn’t really seem to change his character all that much, however, as it’s hardly an uncommon occurrence to see the Hulk going on an all-out rampage for the smallest of reasons.

The Abomination’s strength is so great that it takes brains, not brawn, to challenge him.

This is potentially the first time that the Hulk has ever faced a foe as physically imposing as him, however; he fought Groot (no, not that one) a few years earlier but as far as I can tell most of his more monstrous foes made their first appearances after this story. Consequently, the Abomination makes quite the impact; not only does he retain his intelligence, allowing him to out-think the Hulk, but he’s portrayed as being significantly more powerful, knocking the Hulk out and beating him almost to the point of death in their first encounter. However, the praise kind of stops there; the explanations behind Blonsky’s retained intelligence and greater strength and paper thin and it’s really weird that he would choose to flee after besting the Hulk as he would surely have even less reason to fear the military’s weapons than the Green Goliath. The Abomination’s greater intelligence also doesn’t really translate into any kind of impressive strategy either; immediately drunk on his newfound power, Blonsky sets his goals as lofty as conquering the entire universe, than smashes the place up a bit, and then resorts to kidnapping Betty. He doesn’t even use her as a means to give the Hulk pause to attack and abandons her the moment he arrives back at the base, but worst of all is the fact that this Stranger’s intervention cuts short his rematch with the Hulk simply to keep the Abomination’s threat unchallenged. Overall, this wasn’t a bad two-part story but it definitely wasted its potential; there was so much that could’ve been done with the duality of these monsters, the twist of Ross having to rely on his enemy, and seeing the Hulk and the Abomination tera up the base of the countryside but the story instead plays it very safe and simply hands the Hulk a decisive loss and has his newest (and presumable most powerful) villain left out in the world (well, cosmos) to no doubt hound him again at some point.

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you enjoy the Abomination’s debut? Did you read it when it was first published and, if so, how did you think the Abomination compared to other Hulk villains? What did you think to the idea that the Abomination was not only smarter but stronger than the Hulk? Would you have liked to see a proper rematch between the two in the second part? What are some of your favourite fights or moments between the Hulk and the Abomination? Who is your favourite Hulk villain? Whatever you thoughts on the Abomination (and the Hulk), feel free to share them below or leave a comment on my social media and be sure to check in again next Sunday for more Hulk action!

Talking Movies: Avengers Confidential: Black Widow & Punisher

Dr. K1 Comment

Released: 25 March 2014
Director: Kenichi Shimizu
Distributor: Sony Pictures Home Entertainment
Budget: Unknown
Stars: Jennifer Carpenter, Brian Bloom, Grant George, JB Blanc, Eric Bauza, and John Eric Bentley

The Plot:
After interfering with a top secret mission, Frank Castle/The Punisher (Bloom) is apprehended by Strategic Hazard Intervention Espionage Logistics Directorate (S.H.I.E.L.D.) agent and Avenger Natasha Romanoff/Black Widow(Carpenter) and the two are ordered by director Nick Fury (Bentley) to stop the terrorist organisation known as Leviathan selling stolen S.H.I.E.L.D. technology.

The Background:
After his impressive debut in the pages of The Amazing Spider-Man #129, the Punisher quickly became one of Marvel’s most popular anti-heroes thanks to his tragic backstory and unwavering commitment to the eradication of crime. His popularity has led to the character appearing in a number of multimedia projects outside of the comics, including videogames and both live-action and animated portrayals. Between 2010 and 2011, Marvel Entertainment teamed up with Japanese animation studio Madhouse to produce four anime projects, known as Marvel Anime, to little success. Avengers Confidential: Black Widow & Punisher was the follow-up to those projects; released mid-way through “Phase Two” of the massively successful Marvel Cinematic Universe (MCU), the anime drew a mixed reception despite making over $1 million in domestic home video sales.

The Review:
The movie opens to find the Punisher monitoring a rise in criminal and gang activities, as well as newspaper reports on himself, from his apartment (which, as is tradition, doubles as his armoury) while Black Widow expresses frustration at the Punisher’s mounting reputation as a vigilante. The opening credits play over a very quick montage of stills and images that give a quick recap of each character’s background and origin, showing Frank’s time as a family man and the deaths of his family in a mob hit and Natasha’s time training as a spy and assassin and association with S.H.I.E.L.D.

The Punisher and Black Widow appear to be physical equals but their fights are constantly interrupted.

The Punisher makes short, brutal work of some black-market weapons dealers, filling them with bullet holes and easily taking them apart by himself (despite them having more weapons and the numbers advantage) until only one man, Cain (Hebert) is left. Though disturbed at the high-tech weaponry Cain was selling, his efforts to torture more information out of the perp are interrupted by the arrival of Black Widow. Unimpressed with Fury’s operation and Widow’s criticism of his methods, a fight between the two ensues; though the Punisher demonstrates greater physical ability and immediately goes for his pistols, Widow is easily able to match him blow for blow with her superior acrobatic skill until Fury (modelled after his Ultimate and MCU counterpart) and his soldiers interrupt and Frank is subdued by one of Widow’s tranquiliser darts. However, during all the commotion, Cain manages to slip away unnoticed.

Fury manages to coerce Frank into teaming with Black Widow to infiltrate a Leviathan base.

Aboard the S.H.I.E.L.D. Helicarrier, Fury attempts to reconnect with Frank, whom he has a shared history with, and to impress upon him that his methods, while effective, are disrupting the bigger picture since he has started to interrupt S.H.I.E.L.D.’s procedures. Frank, however, is disgusted at the potential lives Fury’s methods have cost and it’s very quickly established that he and S.H.I.E.L.D., while working towards the same goal, are diametrically opposite. Still, Fury is able to inform Frank that the terrorist organisation Leviathan is selling stolen S.H.I.E.L.D. technology and the two are able to reach an agreement since the Punisher sees that the only reason he has been brought into custody is so that he can be unleashed upon Leviathan. Teamed with Black Widow, the Punisher shares the information Cain gave him and, begrudgingly, the two head to a Leviathan base in the frozen wastes of Slovenia; Widow exposits some background on Leviathan, who have grown into a sophisticated and deadly terrorist organisation that, it is soon revealed, has begun to experiment in created super soldiers and bioweapons. Thanks to their unique skills and training, the two are easily able to infiltrate the base and dispatch of the handful of guards with lethal effectiveness, but the Punisher immediately goes off script as soon as he spots Cain and another fight between the two breaks out.

Amadeus accidentally sends the Punisher on a killing spree with Leviathan’s mind control technology.

This time, however, it’s much briefer and Frank simply storms out and leaves Widow to blindly follow Fury’s orders. Although he captures Cain, his efforts to torture him for more information are once again thwarted when Cain blinds him with a flash of light and slips away once more. Continuing on mission alone, Black Widow subdues the Leviathan scientists non-lethally before being attacked by her former lover, and ex-S.H.I.E.L.D. agent, Elihas Starr (George), who faked his death and has joined Leviathan. Angered at his betrayal, Widow is no match for Elihas, who easily avoids, counters, and matches her frantic attacks while expositing that he chose to develop super soldiers for Leviathan to prove himself worthy of being Natasha’s equal and partner. Elihas attempts to convince Widow into joining him in Leviathan but, though heartbroken at his betrayal, she vehemently rejects him and fights him with renewed vigour and purpose; the Punisher aids her and destroys the facility and the two bring Cain’s cell phone to S.H.I.E.L.D.’s resident kid super genius, Amadeus Cho (Bauza). Though slovenly, excitable, and a teenager pervert, Amadeus is able to decrypt the phone but inadvertently sets the flash function off once again, which puts the Punisher into a bloodthirsty trance that sees him killing numerous S.H.I.E.L.D. agents before he is brought back to his senses. However, while Widow advocates for the Punisher’s state of mind, he is shaken at his actions and willingly submits himself to S.H.I.E.L.D. incarceration after killing innocent men.

United by a common goal, the Punisher and Black Widow eventually form a mutual respect.

Natasha is left feeling further betrayed when Fury reveals that he not only knew about Elihas but was also fully aware that leviathan possessed mind control technology and that he had stolen the Avengers’ blood in order to create his super soldiers. This is, of course, perfectly in keeping with portrayals of Fury as the ultimate spy whose “secrets have secrets” but his willingness to sacrifice both her and the Punisher spurs Black Widow into defying Fury’s orders and convince the Punisher to help her bring down Elihas and Leviathan. This takes the two to an underworld auction in Mandripoor where Elihas’ super soldiers are being sold off to a number of Marvel’s notorious supervillains and, ultimately, forces the two to pool their resources as a more effective team rather than being at odds with each other. In the end, though the two have opposing methods and beliefs, they are able to find some common ground and build a mutual respect for each other’s methods that culminate sin Widow willingly letting Frank return to his never-ending, one man war on crime rather than arrest him as per Fury’s orders.

The Nitty-Gritty:
Of course, every anime lives and dies by the quality of its animation and Avengers Confidential is a pretty slick and smoothly animated feature. Blood and gore fly in the air with a beautiful grace and characters move with either grace and poise or a heavy, weighty physicality when not standing around like statues. Amadeus is probably the most over the top character in terms of his animation, which plays into his quirky and impulsive personality, and the film does a decent job of emphasising the differences between its two main characters through their movements and physicality as much as their personalities.

While the Punisher is a blunt, brutal instrument, Black Widow is sleek and efficient.

The Punisher is cold, blunt force while Black Widow is slick efficiency; the Punisher seems disconnected from humanity and focused only on solving problems in the most direct way possibly, while Widow (and Fury) are concerned with the bigger picture and a strategic approach to secured the safety of millions. The Punisher’s presence turns a lot of heads around S.H.I.E.L.D., who view him with a mixture of awe and fear, and he earns this reputation thanks to his vicious efficiency; when under the influence of Leviathan’s mind control, he resembles little more than an emotionless killing machine. In comparison, Widow is effortlessly smooth and sexy in her movements, moving like liquid and with a serene grace that allows her to easily incapacitate even larger foes. Initially, Elihas is positioned as the primary antagonist of the feature and, thanks to his rushed connection to Black Widow, ensures that Natasha has a more personal stake in the film’s events beyond simply doing her duty to safeguard the world from Leviathan’s technology. Elihas exposed himself to his own super soldier serum, augmenting his strength and abilities in an effort to prove himself worthy of Widow’s love; though he believe that she loved him in the past, he was spurred by her always choosing missions with the Avengers and her life as a superhero over him and resolved to find a way to truly be her equal. Elihas truly believes that S.H.I.E.L.D. is actually oppressing people rather than saving them and that war and conflict are inevitable; as a result, he is perfectly fine with escalating and even starting wars with Leviathan’s technology and resources and sees his super soldiers as the next logic step towards consolidating their influence on the world.

Both the Avengers and Orion show up too late to do much of anything.

Although the Avengers get top billing in the film’s title and feature prominently on the DVD artwork, they don’t actually play a big role in the film and only show up right at the end. Despite having defied Fury’s orders, Black Widow and the Punisher’s mission to stop Leviathan is provided much-needed support when Tony Stark/Iron Man (Matthew Mercer), Doctor Bruce Banner/The Hulk (Fred Tatasciore), Thor Odinson (Unknown), Clint Barton/Hawkeye (Mercer), James Rhodes/War Machine (Unknown), and Carol Danvers/Captain Marvel (ibid) all arrive to help fight off Leviathan’s super soldiers. This leads to some high-octane action but never really overshadows the more grounded and gritty storyline featuring the two leads, who remain at the forefront of the narrative thanks to Natasha’s arc with Elihas and the Punisher’s vendetta against Cain. This is made even more explicit with how unimpressed the Punisher is by Stark’s bravado and the Avengers’ powers and abilities; he’s there with a mission to fulfil and merely tolerates their presence rather than jumping at the chance to join forces with Earth’s Mightiest Heroes. The true head honcho of Leviathan is the mysterious Orion (Blanc), a semi-cybernetic, cloaked madman who doesn’t even physically appear until the last moments of the film. However, despite Orion’s influence and power, we learn basically nothing about him and he is ultimately unable to hold sway over Elihas; during his climatic and emotionally charged showdown with Black Widow, Elihas finally comes to his senses and realises that the love they two of them shared is still there. This proves to be his undoing, however, as he sacrifices himself to save Natasha’s life after Orion shoots at her and dies in her arms. The film does a decent, if rushed job, of trying to place some emotional significance on Elihas’s character and sacrifice but I find myself oddly apathetic since I have no idea who he is; all of their backstory is conveyed through flashbacks and is told to us. We never get to see them as a proper couple or in action together, which I feel hurts the emotional core of their story; he an extra five or ten minutes been included at the start of the film to show their relationship before his downfall, this might have gone a long way to addressing that issue.

The Summary:
Avengers Confidential: Black Widow & Punisher is a really weird production, to be honest; the animation is great and it has that slick, silky smooth quality that you expect from an anime and some brutal, bloody fight scenes but I’m not really sure what the purpose of it is. As far as I can tell, it’s not supposed to tie into any other Marvel production, which makes characters such as Elihas, Orion, and Leviathan very underdeveloped and inconsequential since I have no real personal stake in their story or motivations, and they exist solely to give the title characters someone to fight against and force an emotional conflict for Black Widow. I feel like Punisher is a strong enough character to have carried the anime by himself but, while it is interesting to juxtapose his more extreme measures with the likes of the Avengers and S.H.I.E.L.D., this doesn’t really work when partnering him with Black Widow. Sure, her methods and motivations are different enough but she’s still a spy, a former assassin, with plenty of “red in her ledger” so I can only imagine that she’s partnered with the Punisher to give the anime some sex appeal. In the end, it’s a short and decent enough story; it doesn’t really add anything new to the Punisher or show you anything you can’t see in other Marvel animations or productions but it manages to be just entertaining and action-packed enough to stay afloat despite its mediocre plot and characterisations.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever seen Avengers Confidential: Black Widow & Punisher; if so, what did you think to it and how do you think it holds up against Marvel’s other anime and animated depictions of these characters? What did you think to the concept of teaming these two up and the animation style? Do you think it would have been better to see a solo Punisher feature or to emphasise the more popular Avengers more or were you happy with the story it told? Do you know who Elihas Starr is and, if so, can you tell me why I should care? What is your favourite Punisher story, character, and adaptation (whether it be a movie or videogame)? How are you celebrating the Punisher’s debut this month? Whatever your thoughts on Avengers Confidential: Black Widow & Punisher, and the Punisher in general, drop a comment down below.

Talking Movies [A-Day]: Avengers: Age of Ultron

Dr. K8 Comments

Having introduced comic readers to a whole host of colourful characters, in September of 1963 the legendary duo of Stan Lee and Jack Kirby brought together six of Earth’s mightiest heroes to form the Avengers. A super team like no other, with a constantly rotating roster, the Avengers has become the premier team of Marvel Comics and, thanks to the team and its individual members forming the backbone of the Marvel Cinematic Universe (MCU), have become an unbelievably popular and successful franchise in their own right.

Talking Movies

Released: 1 May 2015
Director: Joss Whedon
Distributor: Walt Disney Studios Motion Pictures
Budget: $365 million
Stars: Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, James Spader, Elizabeth Olsen, Aaron Taylor-Johnson, and Paul Bettany

The Plot:
After finally defeating the last remnants of Hydra, Tony Stark/Iron Man (Downey Jr), Steve Rogers/Captain America (Evans), Doctor Bruce Banner/The Hulk (Ruffalo), Thor Odinson (Hemsworth), Natasha Romanoff/Black Widow (Johansson), and Clint Barton/Hawkeye (Renner) face an even greater threat when Stark and Banner’s prototype for an artificial intelligence, Ultron (Spader), becomes self-aware and concocts a diabolical scheme to unleash an extinction-level event upon the world.

The Background:
After the unprecedented success of Avengers Assemble/The Avengers (Whedon, 2012), the MCU was well and truly on its way to becoming an unstoppable multimedia juggernaut. Following the conclusion of that film, the MCU firmly entered its second phase and director Joss Whedon stated early on that his intention for an Avengers sequel was to tell a more personal and intimate story rather than necessarily being bigger and better. Taking inspiration more from the likes of Star Wars: Episode V: The Empire Strikes Back (Kershner, 1980) than the Marvel Comics story of the same name, the script initially included the first appearance of Carol Danvers/Captain Marvel, and many were surprised to see Whedon focus on Ultron after teasing Thanos (Damion Poitier) the end of the first film. The script also saw the introduction of Wanda (Olsen) and Pietro Maximoff/Quicksilver (Johnson), who both Marvel Studios and 20th Century Fox were allowed to include in separate film franchises thanks to a legal loophole. Tensions were frayed between Whedon and Marvel’s executives, however, as they disagreed with some of his scenes and choices, which eventually led to Whedon parting ways with the studio. Although Avengers: Age of Ultron made about $100,000 less than its predecessor, it still grossed $1,404 billion at the box office. Critical reception wasn’t quite as universally positive as with the first film, however; while the effects and action were praised, many were disappointed with how overstuffed and mundane the film was.

The Review:
Much has changed in the MCU since the conclusion of Avengers Assemble; not only has the entire world seen that extraterrestrial threats lie beyond our planet, but all manner of strange and powerful cosmic artefacts and concepts are now loosed upon the Earth. One positive that came out of the whole debacle, though, was the formation of the Avengers themselves and, since the last film and the fall of the Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.), the team have dedicated themselves to tracking down Loki Laufeyson’s (Tom Hiddleston) sceptre and erasing the last remnants of the clandestine organisation Hydra, which has secretly been manipulating events behind the scenes ever since World War Two.

Inspired my Loki’s sceptre, Stark convinces Banner to help him create Ultron.

The retrieval of the sceptre is a cause for much celebration within the team as it marks the end of a lengthy campaign against Hydra, but it leads into not only all of the film’s subsequent problems but also opens the MCU up to an ever greater threat lurking deep amongst the stars. Within the sceptre, Tony Stark and Bruce Banner (who had bonded over their keen love for science in the first film) discover a powerful gem, just one of the many Infinity Stones, that holds the key to completing Stark’s plans for a global defence program known as “Ultron” that he is desperate to deploy to protect the world form extraterrestrial threats. Shaken by his experiences in the last film, where he saw just how outgunned and outmatched the Earth was compared to the vastness of the galaxy, Stark is keen to build a metaphorical suit of armour around the world and encourages Banner to assist him in completing Ultron despite the doctor’s reservations. Banner, still a timid and cautious fellow, argues the moral and potentially dangerous consequences of giving birth to an artificial intelligence without the approval of the entire team and without proper testing, but is persuaded to co-operate by the force of Stark’s conviction.

Banner and Romanoff struggle with their pasts, natures, and feelings for each other.

Although in a far more comfortable position within the team and with himself, Banner is still subject to the whim of his green-skinned alter ego. Thanks to his ability to summon the Hulk at will, Banner is a valuable asset to the Avengers out in the field and, in an unexpected turn of events, the Hulk is easily subdued and calmed down by the influence of Romanoff. When in his more stable and timid human form, Banner has a close relationship with Romanoff that sees him clearly besotted by her but missing or ignoring her obvious flirtatious advances. He explains this as him being aware that Romanoff flirts with everyone, and the obvious interpretation is that he is afraid to act on his feelings because of his monstrous passenger, but he later reveals that he is holding himself back because he cannot offer her anything resembling a “normal” life. After the accident that first triggered his transformation, Banner has been rendered sterile and potentially dangerous by the sheer amount of Gamma radiation coursing through his veins, to say nothing of the fact that he can’t allow himself to get too excited for fear of triggering a transformation, burdening the doctor with a tragic loneliness no matter how close he is to his team mates. While it may seem strange that Romanoff is suddenly so infatuated with Banner, he represents a sense of kindness and stability that is often missing from her chaotic and deceptive life; even when Banner is explaining himself to her, she opens up to him and reveals some of the horrendous experiences she suffered in the “Red Room” while being trained as an efficient and ruthless spy. Since this also involved a full hysterectomy, she also sees herself as inadequate and monstrous since she’s not only done countless despicable things in the past but is so pained by her inability to be a “real” woman that she feels she can’t be anything more than the famed Black Widow.

While Thor’s side quest derails things somewhat, it’s great to see Barton’s personality fleshed out.

For Thor, recovering the sceptre spells the end to his brother’s impact upon his beloved adopted world; since the last film, Thor has built quite the rapport with his team mates and their extended families and revels with them as he would conquering Asgardian comrades. Thor is enraged, however, when he sees Loki’s magic perverted into Ultron and very nearly comes to blows with Stark over his reckless actions in meddling with cosmic powers beyond his comprehension. Thor’s concerns over the gem are only exacerbated after his encounter with Wanda, which causes him to suspect a greater threat and seek out his friend, Doctor Erik Selvig (Stellan Skarsgård), to accompany him on a short side quest to learn more about the mysterious gems that keep popping up in his life. After spending the majority of the first film under Loki’s control, Barton gets far more screen time and relevance in the sequel than I think many people expected; rather than focusing on his relationship with Romanoff, the film initially suggests that he may be a double-agent or keeping his own secrets from the team, but dramatically reveals that he has a wife and kids that he has kept quiet from everyone except for Romanoff. Protected and hidden from official records by former S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson), Barton’s family provides refuge for the wounded and exhausted team after their encounter with the twins and goes a long way to fleshing out Barton’s character beyond just being “the guy with the arrows”.

Tensions rise between Steve and Stark as both characters have very different methods and ideologies.

Finally, there’s Captain America himself, Steve Rogers. Still very much the field leader and default commander of the superhero team, Steve has committed himself to tracking down and eradicating Hydra’s influence as part of the guilt he feels over not finishing the job back in World War Two. Steve’s old-fashioned sensibilities are a source of much amusing banter within the team, but his pure heart, dedication, and moral integrity mean that he’s devoted to saving and protected all lives above anything else. Indeed, he’s so pure-hearted that he’s even able to ever so slightly budge Mjölnir during a friendly competition, is the only one of the team not driven into a paranoid frenzy by Wanda’s cruel visions, and, of course, takes the moral high ground when he sees the consequences of Stark’s arrogance first stumble to life. Burned by the events of Captain America: The Winter Soldier (Russo and Russo, 2014), Cap is understandably annoyed that Stark would go behind their backs and unleash a potentially world-ending threat upon the world, but is also fair and just enough to try and convince the twins of Ultron’s threat and accept them into the team despite the destruction their actions have caused.

Ultron twists Stark’s vision for peace and personality quirks into a megalomaniacal plot for extinction.

As for Ultron…Like a lot of people, I was surprised to see the second Avengers film make a sudden left turn towards Marvel’s famous cyborg maniac, but curious to see how the character would be brought to life. Since Doctor Hank Pym (Michael Douglas) would not make his debut until the following year, the film alters Ultron’s origins and has it be a creation of Stark and Banner (though mainly Stark); personally, I feel like another redraft of the script could have restored Pym as Ultron’s creator and introduced the character earlier, perhaps with Pym also taking the place of Doctor Helen Cho (Claudia Kim) and helping to further set up his antagonism towards Stark and the Avengers in Ant-Man (Reed, 2015). Regardless, I can understand the change, and Ultron’s depiction as this conceited, self-righteous, boastful villain makes for one of the MCU’s most loquacious and enigmatic antagonists if nothing else. Positioned as a dark reflection and extreme perversion of Stark’s desire to protect the world, Ultron learns of humanity’s tendency towards war and self-destruction by first absorbing Stark’s resident A.I., Just A Rather Very Intelligent System (J.A.R.V.I.S.; Paul Bettany) and then trawling the internet. It concludes, as many sentient A.I.’s do, that humanity can only be truly united and learn to survive and prove their worth after suffering from near extinction and sets in motion a dual plot to spread his influence through multiple, disposable copies of itself while forced Cho to construct a near-invulnerable synthetic body and to turn the ravaged nation of Sokovia into a gigantic meteor to drop onto the planet and bring humanity to the brink of desperation…and greatness.

The twins cause havoc with the Avengers before reluctantly joining forces with them to oppose Ultron.

Ultron is assisted by the twins Wanda and Pietro, who were subjected to bizarre and horrendous experiments by Baron Wolfgang von Strucker (Thomas Kretschmann), a Hydra commander who unfortunately gets very little screen time before being killed offscreen but who leaves a lasting impact in his influence on the twins. While the brash and snarky Pietro exhibits superhuman speed, Wanda wields a dangerous and unpredictable red energy that allows her to fire off psionic bolts and manipulate the minds of others. It’s thanks to her influence that Stark sees a vision of the Avengers left decimated and the Earth vulnerable to alien invasion (which compels him to create Ultron in the first place), that Romanoff is forced to relive her traumatic experiences in the Red Room, that Thor learns of the cosmic disaster threatened by the Infinity Stones, and that the Hulk goes on a mindless rampage through Johannesburg. Wanda and Pietro have their own vendetta against Stark that causes them to willingly assist Ultron; Stark’s weapons caused the deaths of their parents and left them trapped, fearing their own death, for two days when they were children. However, when Wanda learns that Ultron’s plan extends beyond killing Stark and destroying the Avengers and into worldwide genocide, the twins turn against the maniacal machine and reluctantly join forces with the Avengers for the action-packed finale.

The Nitty-Gritty:
It’s true that Avengers: Age of Ultron had a lot to live up to; not only was Avengers Assemble a massive, massive box office event, but it changed the course of the MCU and both comic book films and cinema forever. Add to that the decision to title the film after one of the biggest and most complex crossovers in then-recent Marvel Comics and the film definitely had a bit of an uphill battle; I get that titling films “Age of…” was a common practice in Hollywood for a while, and the desire to capitalise on Brian Michael Bendis’ story arc, but I would have picked Ultron Unleashed instead, which would have both paid homage to the comics while also slightly lowering audience’s expectations somewhat. Still, the banter and wit on offer is just as entertaining and compelling as in the first film; the team give Steve a hard time for calling out Stark’s bad language, Thor’s mission report on the Hulk’s actions against Strucker’s forces is amusing (as is his banter with Stark regarding their girlfriends), and it’s nice just see the team relaxing and socialising outside of battle.

While the action is big and exciting, the film primarily sows the seeds of dissension between the Avengers.

I think the film gets a bit of a bad reputation because it opts for a more subdued and interpersonal story rather than necessarily being bigger and better; the film starts basically where the first film left off, with the Avengers operating as a co-ordinated and efficient team, sharing banter and doing their parts individually and collectively in the assault on Strucker’s fortress. It took basically the entirety of Avengers Assemble to get these big egos and characters to work through their issues and set aside their personal grievances for the greater good, so to see them in action as a fortified unit is incredibly gratifying as a comic book fan. When Ultron first reveals itself to the team, they instinctively leap into action and the question isn’t whether they can fight together, but whether they can co-exist and stay on the same page regarding the greater threats. While Stark’s actions in trying to pre-empt their defences against these dangers were irresponsible, his motivations are entirely understandable and he was right: the Earth did need to prepare itself for a greater threat, but arguably they would have been in a better position to do that if Stark had consulted with his team mates first. As angry as Thor is with Stark for meddling in cosmic powers, Steve is equally disappointed in his friend’s recklessness and the first hints of friction between the two are sowed in this film; while Steve fully believes that the team is best served working together, win or lose, Stark would rather prepare for the best-case scenario and have contingencies in place, no matter how morally questionable they are.

When Wanda screws with the Hulk, Stark is forced to bust out the awesome Hulkbuster mech!

This is further evidenced in the dramatic and exciting depiction of “Veronica”, a massive mech-suit designed by Stark and Banner specifically to combat the Hulk. A contingency neither wish to see put into action, Stark is forced to call upon this “Hulkbuster” armour when Wanda screws with Banner’s mind and sends the Hulk on a mindless rampage. Although we don’t get to see Banner’s nightmarish vision, we can assume that it must be either incredibly devastating, traumatic, or tragic based on what Stark, Cap, Thor, and Romanoff are forced to relive, and it’s most likely something that ties into the fear Banner and the Hulk have of each other. Either way, the rest is an absolutely massive and incredible impressive brawl between the Hulk and the Hulkbuster; easily Stark’s biggest and most powerful armour yet, the Hulkbuster quickly repairs and rearms itself when damaged by the Hulk and is more than capable of going toe-to-toe with the Green Goliath, however it’s still heavily implied that the suit was designed to quickly overpower and subdue the Hulk, something easier said than done considering the Hulk’s ever-growing rage. Indeed, it’s only after a prolonged beatdown and having a building dropped on his head that Wanda’s influence is finally shaken for the Hulk, who’s left visibly distraught at the damage and destruction he has wrought.

Although the Hulk doesn’t get to talk, the film is full of fun cameos to set up the new Avengers team.

Sadly, despite the Hulk clearly uttering words in Avengers Assemble, the Green Goliath returns to being a largely mute creature who communicates only in growls, grunts, and facial expressions; indeed, he kind of fades into the background by the finale before jetting off to places unknown in order to keep Romanoff safe from his violent nature. While I was quite happy with the amount of Hulk action on offer in the film, it is disappointing that he wasn’t depicted as talking here as I was expecting him to be fleshed out more in that regard. Age of Ultron does, however, have time for a few fun cameos from Colonel James “Rhodey” Rhodes/War Machine (Don Cheadle) and Sam Wilson/The Falcon (Anthony Mackie), who officially join the Avengers by the end of the film, and provides a slightly bigger role for former S.H.I.E.L.D. agent Maria Hill (Cobie Smulders), who largely replaces Phil Coulson (Clark Gregg) and even Fury as the Avengers’ go-to liaison, and all of these characters (except, obviously, for Coulson) play a part in the final battle against Ultron. Another criticism of the film was the shoe-horning in of unnecessary world-building, specifically Thor’s “vision quest” that seems to serve little purpose other than reminding audiences of Thanos’ (Josh Brolin) looming threat. Personally, I never had much of a problem with this as it made Thor pivotal to the creation of the Vision (Bettany); furthermore, much of the film is devoted towards further exploring Stark’s guilt and desperation regarding his friendship with the team and his desire to protect the world, all of which paid off beautifully as the MCU progressed.

Hawkeye forms a bond with Wanda and seems destined to die but it’s Pietro who takes one for the team.

Thanks to being revealed to be a loving and devoted father and husband, Hawkeye slips naturally into the role of a mentor to the twins and the heart of the team; he initially has an antagonistic rivalry with the condescending Pietro but is the only one of the team to anticipate and counteract Wanda’s mind control. When the twins join the team, he helps to integrate them into the Avengers’ code and nowhere is this more evident in the pragmatic and honest pep talk he gives to Wanda, who is overwhelmed by the chaos and insanity of the battle against Ultron’s drones. This perfectly encapsulates not just Barton’s moral centre but also the entire point of the Avengers as a team and a concept: no matter how crazy things get or how unwinnable the odds seem, they shake it off and keep fighting until the very end, regardless of the outcome. Cap reinforces this philosophy when he tells the team: “If you get hurt, hurt ‘em back. If you get killed, walk it off”, and these words have a significant impact not only in encouraging Wanda not to hold herself back in the battle against Ultron but also in Pietro’s decision to be selfless for the first time in his life. Seeing Barton using himself as a human shield to try and protect an innocent child, Pietro rushes in and saves them both at the cost of his own life, a random and absolutely unexpected (and potentially unnecessary) sacrifice that continues to be a little confusing. It appears Whedon decided to kill off Pietro because it would have been too obvious to off Barton, a character who had been set up throughout the entire film as basically doomed and living on borrowed time, but keeping him alive ended up paying off on a longer story arc for the character within the MCU.

Ultron aims to transfer itself into the perfect body, but its Vision grows to oppose and destroy it.

Ultron begins life as a confused and disembodied artificial intelligence; as it quickly absorbs information, its curiosity turns to contempt and it soon perverts Stark’s desire for “peace in our time” to the extreme. It regards Stark’s other creations as mere puppets and is quickly able to learn everything about the team, and the world, and evade true destruction by escaping through the internet and transferring its consciousness halfway across the world into a slew of disposable bodies. As a fully CGI character, Ultron is certainly impressive; the only real complain I have is that I don’t think it needed to have lips. Thankfully, Spader provides an enigmatic and surprisingly layered performance; Ultron fully believes that its actions are just and truly cares for the twins, and is unsettling in its unpredictability as it can be charismatic and almost kind-hearted one minute and then a complete psychopath the next. To help position itself as an unstoppable overlord in its new world, Ultron has Cho create a perfect synthetic body; however, the Avengers are able to intercept this form and, despite concerns about Stark’s recklessness, infuse it with J.A.R.V.I.S.’s consciousness, Thor’s lightning, and the mysterious Mind Stone that was contained within Loki’s sceptre, thus giving birth to a new artificial lifeform dubbed the Vision. Understandably cautious and wary of this new individual, the Avengers’ fears of the Vision’s intentions are immediately set aside when he proves his mettle by being capable of wielding Mjölnir; while I can understand the argument that the Vision’s introduction is a bit rushed and his powers somewhat ill-defined, having him grab Mjölnir like it’s nothing was a great shorthand to tell us everything we needed to know about the character at that point, and he plays a pivotal role in paralleling Ultron’s destructive megalomania with a more pragmatic and reasonable logic.

The Avengers stop Ultron and avert worldwide disaster, unaware of an even greater threat on the horizon.

Having used Stark’s technology, Cho’s research, the power of the Mind Stone, and the near-limitless potential of Wakanda’s Vibranium, Ultron succeeds in lifting Sokovia high up into Earth’s atmosphere. Its inexhaustible army of drones may be simply disposable minions for the Avengers to tear apart, much like the Chitauri, but the stakes are far bigger this time around as the Avengers are forced to hold off Ultron and its copies while also trying to slow or safely stop its make-shift meteor, all while trying to evacuate the entire city onto Fury’s repurposed Helicarrier. They’re successful largely thanks to Wanda who, devastated by her brother’s death, decimates Ultron’s drones and crushes its primary body, ripping its heart out for good measure before the Hulk sends it flying off the floating city. Thanks to Stark and Thor, the landmass is overloaded and blasted to smithereens before it can pose a threat, and Ultron’s final form is seemingly eradicated forever following a philosophical debate with its “son”, the Vision. In the aftermath, Thor returns to Asgard to investigate the Infinity Stones and Stark officially leaves the team to follow through with the promise he made to Virginia “Pepper” Potts (Gwyneth Paltrow) in Iron Man 3 (Black, 2013) and Cap and Romanoff move to a new Avengers facility far outside of the city where they prepare to train a new team of Avengers. However, while all seems well between the team, the Mad Titan, Thanos, arms himself with a glistening gauntlet and prepares to take care of matters personally.

The Summary:
I remember being somewhat underwhelmed by Avengers: Age of Ultron when I first saw it at the cinema; it wasn’t that it was bad, or necessarily worse than Avengers Assemble, but it didn’t really seem to be much better than its predecessor. Avengers Assemble was such a big event because it was the first time these characters were coming together onscreen and I had waited so long so see comic book characters in a shared universe rather than being restricted to isolated worlds, so it always gets extra credit for me due to that and the power of nostalgia. Being just as good as one of the MCU’s best films is nothing to be ashamed of, however, but I think I, like many audiences, was just expecting something a little more substantial from the team’s next big outing. Still, it’s definitely gotten better over time and remains an action-packed spectacle that ties into Phase Two’s themes of challenging the status quo of the MCU and lays the first hints of dissension within the Avengers. Seeing the Avengers in full force never gets old; as much as I enjoy the direction the MCU took, part of me would have liked to see one more film of them as a cohesive unit with the resources of S.H.I.E.L.D. behind them, possibly battling the Masters of Evil, simply because I enjoy the banter and teamwork of the Avengers so much and it’s always a spectacular moment whenever that rousing theme kicks in and the team appears onscreen.

While a bit bloated, Age of Ultron is a stronger entry in the MCU than you might remember.

While it’s not a perfect film by any means, Age of Ultron introduces a lot of new elements to the MCU and makes an impact with its entertaining action scenes; it’s still amazing seeing Iron Man don the Hulkbuster armour, Pietro’s superspeed and Wanda’s freaky magic add some unique pizazz to the film’s events and finale, but the film really makes its mark with the introduction of the Vision and Spader’s performance as Ultron. A complex and psychotic villain who is all the worst parts of Stark dialled up to eleven, Ultron is both menacing and amusing thanks to its overabundance of personality and snark, and is perfectly juxtaposed by the more life-affirming and analytical Vision. Overall, I feel it’s an under-rated entry in the MCU that is more than deserving of a little more respect and credibility; sure, it’s a little overstuffed and introduces a lot of new elements but, as Ultron states, “with the benefit of hindsight” I think there’s a lot on offer in Avengers: Age of Ultron and that it works wonders for encapsulating the spirit and integrity of the team, perfectly setting them up for their eventual disassembling and climatic reassembling against their greatest every threat, so I’d say it’s a more than worthy follow-up despite some flaws here and there.

My Rating:

Rating: 4 out of 5.

Great Stuff

Are you a fan of Avengers: Age of Ultron? How do you feel it holds up against the first film, and the other Phase Two movies? Were you disappointed with the depiction of the Hulk, Banner’s romance sub-plot with Romanoff, and Pietro’s sudden and dramatic death? What did you think to the new characters introduced to the team in this film, specifically Wanda and the Vision? Where does Ultron rank amongst the Avengers’ villains for you and what did you think to the alterations made to his origin, and Spader’s performance? Would you have liked to see one more Avengers movie before the team splintered and, if so, which characters would you have liked to see added to the team? How are you celebrating the debut of the Avengers today and what are some of your favourite Avengers storylines, characters, or adaptations? Feel free to sign up and share your thoughts and opinions on the Avengers in the comments below, or drop me a line on my social media.

Back Issues [Spidey Month]: The Amazing Spider-Man #14

Dr. K1 Comment

Easily Marvel Comic’s most recognisable and popular superhero, unsuspecting teenage nerd Peter Parker was first bitten by a radioactive spider and learned the true meaning of power and responsibility in Amazing Fantasy #15, which was first published in August 1962. Since then, the Amazing Spider-Man has featured in numerous cartoons, live-action movies, videogames, action figures, and countless comic book titles and, in celebration of his debut and his very own day of celebration, I’m dedicating every Friday of August to talk about everyone’s favourite web-head!

Story Title: “The Grotesque Adventure of the Green Goblin”
Published: 9 April 1964 (cover-dated July 1964)
Writer: Stan Lee
Artist: Steve Ditko

The Background:
In 1962, Marvel Comics editor and head writer Stan Lee followed up on his success with the Fantastic Four with Spider-Man; his debut in Amazing Fantasy #15 proved to be one of Marvel’s best selling titles and Spider-Man’s popularity led to him getting his own solo title barely a year later and he quickly amassed one of the most colourful and memorable rogues galleries in all of comics. Easily one of Spider-Man’s most devious and iconic enemies is the Green Goblin; although a number of people have assumed this elf-like guise, the most famous face behind the mask is Norman Osborn, industrialist and father to Peter’s best friend. Stan Lee’s initial pitch was very different from what the Green Goblin turned out to be, and he continued to clash with artist Steve Ditko over the character’s true identity. Although his identity was initially a mystery, the Green Goblin would go on to be a central figure in many of Spider-Man’s most prominent storylines and a recurring figure in Spidey’s life both in and outside of comics.

The Review:
According to the issue’s first splash page, the Green Goblin came about after a concentrated effort by the Marvel writing staff to deliver “the greatest 12¢ worth [they] can” and wastes no time in introducing readers to “a really different villain” by opening with the shadowy wrongdoer hard at work in his high-tech basement laboratory. There, the mysterious Green Goblin puts the finishing touches to his “flying broomstick”, a rocket-powered flying device that completes his fearsome, colourful costume. With his look complete, the Green Goblin meets with the Enforcers (Montana, Fancy Dan, and Ox), a trio of the city’s most notorious gangsters, and coerces them into working for him to defeat Spider-Man (who previously got the Enforcers arrested some time prior to this story) by intimidating them with sparks shot from his fingers. Strangely, the Green Goblin’s plan involves offering struggling filmmaker B. J. Cosmos the chance of a lifetime: a sure-fire action movie with the Green Goblin and the real Spider-Man as the stars!

The mysterious Green Goblin offers Spider-Man the chance to make bank on a Hollywood movie.

We then catch up with Peter Parker, who’s in a far better position, socially at least, than usual; not only did he get a 100% score in his last exam, but his intelligence earns him the admiration of Liz Allen, who not only coos over him but actually stands up to Eugene “Flash” Thompson when the football star continues to mock Peter for his lack of physical acumen. Peter’s surprise at seeing Liz leap to his defence and joy at seeing Flash taken down a peg or two is cut short when he hears news of the Green Goblin flying around the skies of Manhattan, so he quickly dashes off to confront the garishly garbed goblin as Spider-Man. Rather than getting into a fist fight, however, the Green Goblin tells Spidey about the movie opportunity and, despite his better judgement, the web-head goes to check it out and finds that the filmmaker is willing to pay him $50,000 to star in a movie that pits him against the Enforcers and the Green Goblin. Despite the fact that the last time he cashed in on his spider powers, Peter learned a harsh lesson about using his abilities responsibly, Spider-Man actually agrees and signs a contract since the cash would allow him to provide for his beloved Aunt May. Although receptionist Betty Brant isn’t best pleased at her man socialising with Hollywood starlets, and Aunt May worries about him making a big trip out to California, Peter is not only given license to get out on his trip but even assigned to cover the movie shoot by editor J. Jonah Jameson, thus promising even more profit from the gig.

Spider-Man is easily duped by the Green Goblin and attacked by the Enforcers.

Upon arrival, Spider-Man is amazed at B. J.’s make-up effects and doesn’t suspect that anything’s amiss (so much for his much-lauded spider-sense…), but quickly learns that he’s blundered into a trap when the Enforcers attack him during a “rehearsal”. Spider-Man’s agility and spider-sense help him to largely avoid the trio’s attacks, but he’s several disorientated when the Green Goblin tosses stun grenades at him and deftly avoids his web shooters thanks to his…*sigh*….rocket-powered broomstick. This gives the Enforcers the opportunity they need to dog-pile him, pummelling him mercilessly and leading to a common sequence where Peter musters all of his spider strength to throw them off and then whips up a “man-made dust storm” to temporarily blind his foes. The story then jumps back over the New York to find Aunt May already writing a letter to her nephew, Liz again standing up for Peter to Flash, and Betty continuing to suspect that Peter’s cheating on her over in Hollywood; I guess the point of this is to show that the never-ending drama in Peter’s life continues to churn over even when he’s not around, but the leaps in logic these characters make never fails to astound!

Of course the Hulk randomly shows up! I mean, why not?!

Thankfully, the story quickly returns to Spider-Man’s plight; the web-slinger takes cover in a nearby cave to catch his breath and ends up being trapped inside by, and with, the Enforcers and the Green Goblin. One by one, Spider-Man picks off the Enforcers; he nabs Montana, webs up Fancy Dan, and knocks out Ox with a single punch to the jaw, but the Green Goblin is not so easily ensnared thanks to burning away Spidey’s web net with his broomstick. As if things weren’t already complicated enough, who else should randomly appear in the cave but Doctor Bruce Banner’s enraged alter ego, the Incredible Hulk! Naturally, the Hulk attacks Spider-Man on sight and goes on a rampage, much to the Green Goblin’s glee. When Spider-Man’s attempts to reason with the Green Goliath fall on deaf ears, he’s forced to rely on his agility to avoid the Hulk’s attacks, stunned to see the beast tear through his webbing, and succeeds only in almost breaking his hand when he wallops the Hulk in the face! Realising that he can’t reason with or out-fight the Hulk, Spider-Man puts his health (and life) at risk by tricking the Hulk into smashing the boulder and freeing them from their confinement.

Spider-Man must settle for having survived as he’s left out of pocket and clueless to the Goblin’s identity.

Now back out in the open and able to swing again, Spider-Man turns his attention back to the Green Goblin; however, he’s too weak to properly overpower the Goblin’s broomstick and ends up falling to the water below. When he spots the Hulk heading back into the cave, Spider-Man is duty-bound to rescue the Enforcers before the Green Goliath can find and hurt them, and flees the scene to confront B. J. over his business associates. B. J. is aghast that the army would arrest his stars, but quickly hits on the genius idea of trying to sign the Hulk to an exclusive contract as a replacement antagonist. When Spidey arrives to talk about his fee, the web-slinger is left out of pocket due to the film being cancelled and given just enough money to cover his trip back to New York. Rather than be concerned about the Hulk being free out in the desert or question his willingness to sell his abilities out for fame and fortune, Peter returns to the city and ponders where and when the mysterious Green Goblin will strike next. Speaking of Spidey’s fiendish new foe, the story ends with the Green Goblin returning to his lair and lamenting his failure to destroy the web-spinner and position himself as the new head of a worldwide criminal syndicate. Still, the experience (and the unexpected appearance of the Hulk) teaches the Green Goblin the valuable lesson that one can never think of everything, but he consoles himself in his anonymity and resolves to strike even harder in his next criminal escapade.

The Summary:
Um…okay, so…Marvel claim, right from the first page of the story, that the Green Goblin will be this big, impressive, unbelievable new foe for Spider-Man and the fiend’s big debut plot is to trick Spider-Man into signing on the a film so the Green Goblin and his unimpressive goons can try and beat him up. I mean, as far as villainous plots go, it’s hardly tossing your girlfriend off a bridge or murdering countless innocents! While the Green Goblin would eventually live up to his hype and become arguably Spider-Man’s most dangerous villain ever, you’d never know it from this first issue; and you can’t even say that Marvel didn’t know how to debut new Spidey foes at the time as Doctor Otto Octavius/Doctor Octopus made a much more impressive debut that same year some months prior and he came across as a far more formidable foe.

Considering how important he would become, the Green Goblin makes an inauspicious debut.

Just about the only thing that the Green Goblin has going for him is the question of his true identity; when he’s not wearing his mask, his face is constantly obscured or in shadow and I can imagine this was incredibly intriguing at the time as it was uncommon for us readers to not know who Spidey’s villains were behind their colourful costumes. Rather than flying his iconic glider, the Green Goblin straddles a ridiculous rocket-power broomstick and tosses stun grenades instead of his trademark pumpkin bombs; he doesn’t seem to exhibit any superhuman powers, and yet is able to intimidate the Enforcers just by causing some sparkles to fly from his fingers (an ability that doesn’t show up again this issue and appears to have no actual function). The Green Goblin barely even fights with Spider-Man; instead, he sets the Enforcers against him, and these three are incredibly underwhelming characters. Sure, Ox is a brute and Montana has his trusty lasso and I guess Fancy Dan is supposed to be quite agile, but they’re never really portrayed as an actual threat even when they have the numbers advantage.

The Hulk completely overshadows the Green Goblin and only adds to the mess of the issue’s plot.

Then there’s the nonsensical inclusion of the Hulk! Now, I get it; Marvel loved to cram in random cameos from their other characters into stories at the time, and it’s incredibly possible that there’s more context for his appearance in his own comic, but all he really does is completely overshadow the Green Goblin and the main plot. Not only that, but Peter acts really out of character here; he signs up for a movie deal without hesitation despite his vow to use his powers responsibly rather than for personal gain and is not only easily duped by the Green Goblin but is spider-sense is unreliable, at best, at warning him of the obvious dangers around him. The action is pretty good, to be fair, but then it always is in Spider-Man comics; ultimately, this is a good showcase for Spidey as you get to see him hold his own against the Hulk, but the entire selling point of the story was the conflict between Spider-Man and the Green Goblin and we get so little of that that the Goblin may as well have not been in the story at all. This is the very definition of style over substance; the Green Goblin is mysterious and colourful but hardly makes a great first impression and the story is full of filler, nonsense, and overshadowed by the Hulk. This could have been a cool opportunity to have this strange, maniacal imp-like villain torment Spider-Man and constantly give Spidey the slip but, instead, we get this weird plot about him duping him with a movie deal, and then Spidey just checks out of there rather than trying to chase after him, resulting in an inauspicious first appearance for someone who would become one of Spider-Man’s most dangerous foes.

My Rating:

Rating: 2 out of 5.

Could Be Better

What are your thoughts on the Green Goblin’s inauspicious debut? Were you a fan of the villain at the time or did he win you over in a different story (and, if so, which one?) What did you think to Peter’s willingness to sign up for a movie deal and shirk his responsibilities? Who is your favourite Spider-Man villain and why? What did you think to the Hulk showing up in this story? Whatever your thoughts on the Green Goblin, sign up to share them below or leave a comment on my social media and be sure to check back in next Friday as Spider-Man Month continues!

Talking Movies [HulkaMAYnia]: The Incredible Hulk

Dr. K4 Comments

Since his explosive debut in May 1962, Stan Lee and Jack Kirby’s gamma-irradiated Jade Giant has been one of their most recognisable and successful characters thanks, in large part, to the Incredible Hulk television show (1977 to 1982) catapulting the Hulk into a mainstream, pop culture icon. Hulk has been no slouch in the comics either, being a founding member of the Avengers, joining teams like the Defenders, and has gone through numerous changes over the years that have added extra depth to the green-skinned behemoth and made him one of their most versatile and enduring characters.

Released: 13 June 2008
Director: Louis Leterrier
Distributor: Universal Pictures
Budget: $137.5 to 150 million
Stars: Edward Norton, Liv Tyler, Tim Roth, and William Hurt

The Plot:
In a bid to recreate the super-soldier serum, Doctor Bruce Banner (Norton) exposed himself to gamma radiation and, whenever provoked or enraged, transforms into a green-skinned behemoth known as the “Hulk” (Lou Ferrigno). Desperate for a cure, and to avoid the attention of General Thaddeus “Thunderbolt” Ross (Hurt), Banner reluctantly rekindles his relationship with former flame Doctor Betty Ross (Tyler) and finds himself hounded by Emil Blonsky (Roth), a relentless soldier who exposes himself to the same process to match the Hulk’s physical abilities.

The Background:
Stan Lee and Jack Kirby’s green-skinned rage monster had a troublesome road to the big screen; although Hulk (Lee, 2003) featured its fair share of impressive visual effects shots and was relatively profitable, its poor critical performance quashed plans for a sequel. However, when Universal Pictures failed to produce a follow-up in time, the rights reverted to Marvel, who were currently riding high after the critical and commercial success of the first film in the Marvel Cinematic Universe (MCU), Iron Man (Favreau, 2008). Opting to reboot the property, Marvel hired director Louis Leterrier and writer Zak Penn, who both drew significant inspiration from their love of The Incredible Hulk television show (1977 to 1982). Edward Norton was cast as Banner and also provided some work on the script, which caused some tension between him and Marvel when many of his additional scenes were cut and ultimately led to him leaving the role. Like Hulk, The Incredible Hulk brought the Hulk to life through visual effects specifically tweaked to portray him beyond the peak of human physical ability and the film even brought back Joe Harnell’s iconic and tragic “Lonely Man” theme from the TV show. The Incredible Hulk was not quite as profitable as Iron Man; it made a little more than its predecessor with a worldwide gross of nearly $265 million but was again met with mixed reviews. Although development of a solo sequel film stalled after disagreements with Universal Pictures, the character would be recast for subsequent appearances in the MCU, where he received something of a “mini arc” and many of the film’s loose ends were eventually addressed in later MCU productions.

The Review:
I came away from Hulk relatively satisfied; it was longer and far more cerebral than I was expecting but I always thought that it was a pretty impressive and enjoyable big-screen debut for the Jade Giant and I was disheartened to learn that we wouldn’t be getting a direct sequel. Still, hearing that the next film in the MCU would feature another crack at the Hulk was an encouraging sign that Marvel Studios were eager to both do the character justice and make him a prominent feature in their fledgling interconnected universe. Even better was the fact that The Incredible Hulk benefitted from a surge of fantastic casting in superhero films at the time; actors like Robert Downey Jr., Jeff Bridges, Michael Caine, and Morgan Freeman were really adding a lot of legitimacy and gravitas to the genre and I thought it was quite the coup to see Edward Norton cast in the lead role in The Incredible Hulk. Sadly, Marvel Studios seemed to lose faith in the project before the release day and spoiled Tony Stark’s (Downey Jr.) appearance the pre-credits scene in the last few trailers and, even now, The Incredible Hulk remains one of the lowest-grossing films in the MCU.

Banner is a desperate man on the run trying to cure his unique condition and avoid capture.

Like Hulk, The Incredible Hulk plays its opening titles over a montage that is both a clear homage to the 1970s TV show and a revised origin for the character as Banner exposes himself to gamma radiation in an attempt to recreate the super-soldier serum rather than as an experiment on the limits of the human body. As much as I enjoy Mark Ruffalo in the role, there’s no denying that Edward Norton is a different quality of actor; he makes for a great Banner, showcasing the same empathy, humanity, intelligence, and desperation that made Bill Bixby so great in the role, and is still probably the most accurate onscreen portrayal of the character in my mind. Actively hiding his identity and staying off the radar of both Ross and the Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.), Banner busies himself with a menial job while communicating with the mysterious “Mr. Blue” in an effort to synthesise a cure for his condition. Banner also wears a heart rate monitor to warn him when he’s getting too stressed and works with an Akido instructor (Rickson Gracie) to control his emotions and anger through breathing and meditation techniques. Having reached the limit of what he can accomplish with his mediocre resources, and after accidentally alerted Ross to his presence with a single drop of blood, Banner has no choice but to abandon his hard but largely peaceful life and return to the United States in an effort to find a cure.

Betty can’t help but be drawn to Bruce and helps him out of pure adoration and love.

This reunites him with Ross’s daughter and Banner’s former love, Betty, a renowned and capable scientist in her own right who, despite being in a relationship with psychiatrist Leonard Samson (Ty Burrell), has never forgotten her feelings for Bruce. Reunited after five years apart, she immediately insists on helping him in any way she can, which involves bringing him clothes after his Hulk-out, helping him gain access to Culver University, going with him on the run, and shielding him from her tyrannical father at every opportunity. Betty is, once again, an empathetic and supportive character who is both clearly besotted with Banner and exhibits a sympathetic protectiveness of his green-skinned counterpart; Tyler and Norton have a very real, tangible chemistry and it’s great seeing their characters interact as equals and attempting to act on their obvious attraction to each other. Crucially, Betty also holds key data that Mr. Blue (who turns out to be Doctor Samuel Sterns (Tim Blake Nelson)), needs to properly help synthesise a cure for his condition.

The Hulk is far more aggressive and wild than usual and more like a force of nature.

Though still largely a silent character, the Hulk continues to exhibit a great deal of personality to separate him from Banner. Far more aggressive and angrier than his 2003 counterpart, this is a Hulk who has had to deal with being constantly suppressed within Banner’s subconscious and finds himself relentlessly hounded by Ross, Blonsky, and the military. As he simply wants to be left alone but is quick to fly into a rage and even mumble a few words of protest when provoked, the Hulk appears to be much more feral than usual, though he does retains his child-like demeanour at times while also seeming much more akin to a wild animal. Crucially, the Hulk is fiercely protective of Betty, who’s the only person to show him any kindness, and notably shields her when Ross allows his selfish vendetta against him to threaten her safety, lending further credibility to Betty’s later belief that the Hulk has great potential as a force for good. Since the film doesn’t delve into Bruce’s childhood or emotional trauma, the Hulk is much more of a result of science gone wrong but there’s also the suggestion that he has the potential to be so much more; Banner, however, is more concerned with ridding himself of his ailment than learning to properly accept it as part of himself and his fear of the Hulk is almost as great as Ross’s hated of him.

Just as Ross is desperate to apprehend Banner, Blonsky is obsessed with fighting the Hulk.

Speaking of ol’ Thunderbolt, General Ross continues to be a stubborn and vindictive character; personally directing the missions to detain Banner, his motivations stem just as much from Banner’s first transformation landing Betty in the hospital as it does from his desire to contain the beast lest anyone discover the role Ross and the U.S. military played in his creation. Again a stern and uncompromising authority figure who prioritises his duty and career over his daughter, Ross begins the film estranged from Betty and their relationship is only further strained by the revelation that Ross is seeking to dissect the Hulk from Banner’s body in order to weaponise the creature. Ross’s ceaseless campaign against Banner sees him employ the services of Emil Blonsky, a former Royal Marines Commando who quickly develops an intense rivalry with the Hulk. Eschewing promotions that would take him away from the combat he craves so dearly, Blonsky obediently follows orders to the letter but, having witnessed the Hulk’s destructive power (and feeling the physical strain of a lifetime of combat), candidly requests more information on Banner and the Hulk and is only too eager to receive a version of the super-soldier serum in order to improve his own strength, speed, reflexes, and recuperative powers. However, when even this fails to make him a match for the Hulk, Blonsky seeks more extreme methods to battle the Green Goliath. Sterns is only too willing to further augment Blonsky’s body with mutated samples of Banner’s blood, which causes him to transform into a bestial form of his own to finally battle the Hulk on equal ground for the finale.

The Nitty-Gritty:
I touched on this earlier but, for a time, it wasn’t entirely impossible to view The Incredible Hulk as a follow-up to Hulk; the film opens in Brazil, very similar to where the 2003 film ended, and it’s easy enough to believe that Banner was granted permission to return to the U.S. to help with the super-soldier serum only to be further ostracised by Ross, and you could even explain away to recasting of Talbot from Josh Lucas to Adrian Pasdar and his revival can be explained away by the questionable canonicity of Marvel’s television shows. I always felt like there was just enough connective tissue to link the two without explicitly stating it but, ultimately, The Incredible Hulk also works extremely well as a reintroduction to the character. By evoking the familiar imagery of the TV show and leaning into the accepted tropes associated with the character, the film is much faster and more action-packed since it doesn’t waste time delving into the Hulk’s origin and instead kicks things off with Banner a desperate man on the run, something immediately familiar to fans of the early comics and the aforementioned TV show.

Banner comes to consider that the Hulk could be used as a force for good.

That’s not to say that The Incredible Hulk isn’t without its poignant moments; it may not be a methodical in-depth character study like the last film but there’s a great amount of time devoted to Bruce’s increasing desperation to rid himself of the Hulk. This has left him alone and exiled from his home and love, and constantly on edge and reluctant to trust anyone with too much of his blood or research lest he be discovered or his condition weaponised. Banner is outraged to discover that Sterns has synthetised large quantities of his blood for medicinal purposes and is disheartened to find that Sterns’ efforts have been unable to produce an actual cure. When he returns to the U.S., Banner is initially reluctant to reconnect with Betty but she insists upon offering her assistance out of a genuine affection for him; Betty is also the one who suggests that the Hulk is actually a force for good, something that kept him from dying from a gamma exposure, and plants the first seed in Banner’s head of trying to “aim” the beast and influence the Hulk’s actions rather than simply eradicate the Jade Giant. There’s also an interesting addition whereby Banner’s condition means he cannot allow himself to get sexually aroused since this risks provoking the Hulk’s emergence, replacing the allegory of the Hulk as an expression of his repressed childhood trauma with a metaphor for impotence.

The Hulk is a highly adaptable and aggressive fighter.

Like his 2003 counterpart, the Hulk is a purely digital creation; similar to the last film, the Hulk is initially obscured by darkness and very much painted as a mysterious and fearsome monster. This time, he’s got more of a grey/green hue, is noticeably much more ripped than his predecessor, and there’s loads of really intricate details in his model like bulging veins and muscles that make him a far more impressive digital creation. However, despite this, it can’t be denied that the special effects have aged somewhat. Although the Hulk’s digital model is visually far more impressive than his predecessor, the effects remain somewhat inconsistent in his quality; the Hulk appears very cartoonish when he emerges on the university campus but looks far more believable and fearsome when filmed at night and in the finale. Though he doesn’t continuously increase in mass as he gets madder and stronger, this Hulk is far more aggressive and much more diverse in his attack patterns. He performs his patented thunderclap manoeuvre and his ability to use his surroundings to his advantage, coupled with his ferocious rage, make him a terrifying force of nature. Indeed, the Hulk is smart enough to rip apart military vehicles and turn them into makeshift shields and weapons, very similar to The Incredible Hulk: Ultimate Destruction (Radical Entertainment, 2005), which he uses to trash Ross’s heavy ordinance and sonic weapons. Although he wishes to be left alone, the Hulk’s threat only increases the more he is provoked and Blonsky certainly drives him to his limits with his persistence and taunts, earning him a near-fatal blow from the Green Goliath, who appears to rack up quite the body count through his many rampages.

Despite being a dark mirror of the Hulk, the Abomination makes for a thrilling final foe.

Thankfully, there are no gamma dogs this time around and the Hulk surprisingly appears in a number of populated areas, adding to the film’s level of destruction over its predecessor. While Blonsky’s enhanced abilities provide a taste of what we would later see from Steve Rogers/Captain America (Chris Evans), his obsession with besting the Hulk leads to him forcing Sterns into transforming him into a version of the Abomination. This bony, hulking monster is quite the upgrade compared to the finale of the last film but is a noticeable departure from his traditional comic book appearance and does admittedly add to the MCU’s tendency to rely on dark mirrors of their heroes. Still, the brawl between the Hulk and the Abomination makes for a far more visually impressive finale, not least because you can actually see what’s going on this time around. Potentially because of his conviction or having been exposed to a more potent version of the super-soldier serum, Blonsky retains his personality and intellect when transformed but, drunk with the power afforded to him, the Abomination goes on a rampage through Harlem, attacking civilians and Ross’s troops alike to draw the Hulk out and forcing Ross to risk sending Banner into the hot zone to take Blonsky down. I can totally understand the argument that ending the film with two similar-looking CGI characters bashing each other senseless takes away from the human element of the narrative but it’s a Hulk film so what do you expect? The scene is also framed in a way to make the Hulk appear both heroic and monstrous; though he attacks the Abomination, he causes a great deal of damage in the process but his rage is effectively directed in a more productive way. Despite boasting bony protrusions, the Abomination is ultimately bested by the Hulk’s unquenchable rage but is saved from being choked to death by Betty’s intervention; afterwards, he’s carted off to be thrown in prison in the Raft for the better part of a decade. Humbled by having to turn to the Hulk for help, Ross is far from impressed when Stark comes seeking to recruit the Hulk and the film ends with the ambiguous suggestion that Banner has learned to control his transformations.

The Summary:
Honestly, it annoys me that people overlook The Incredible Hulk; it doesn’t help that legal issues between Marvel Studios and Universal Pictures kept the film somewhat suppressed for a great deal of time and meant that all of the dangling plot threads and sequel bait would sadly never be developed or take a long time to be addressed in the wider MCU. The film’s homages to 1970s show and films like An American Werewolf in London (Landis, 1981) are a nice touch and the cast is absolutely fantastic; Norton, Tyler, Hurt, and Roth all bring a real humanity and intensity to their roles in their own ways and the Hulk is realised perfectly onscreen. Despite being much brisker and more action-orientated compared to the 2003 film, The Incredible Hulk still perfectly captures the desperation of the character as seen in the source material and the popular TV show, and even an admittedly lacklustre finale doesn’t spoil what I find to be an extremely enjoyable and under-rated entry in the MCU.

My Rating:

Rating: 3 out of 5.

Pretty Good

Are you a fan of The Incredible Hulk? Would you agree that it’s an under-rated entry in the MCU? What did you think to the cast and would you have liked to see Edward Norton reprise the role in the MCU? Were you a fan of the Hulk’s appearance and characterisation this time around and how did you interpret the film’s final shot? Would you have liked to see all of its loose ends addressed in a dedicated Hulk sequel or were you happy with how the MCU incorporated these elements later on? What Hulk story from the comics would you liked to see adapted one day? Whatever your thoughts, feel free to leave a comment below.

Talking Movies [HulkaMAYnia]: Hulk

Dr. K1 Comment

Since his explosive debut in May 1962, Stan Lee and Jack Kirby’s gamma-irradiated Jade Giant has been one of their most recognisable and successful characters thanks, in large part, to the Incredible Hulk television show (1977 to 1982) catapulting the Hulk into a mainstream, pop culture icon. Hulk has been no slouch in the comics either, being a founding member of the Avengers, joining teams like the Defenders, and has gone through numerous changes over the years that have added extra depth to the green-skinned behemoth and made him one of their most versatile and enduring characters.

Released: 20 June 2003
Director: Ang Lee
Distributor: Universal Pictures
Budget: $137 million
Stars: Eric Bana, Jennifer Connelly, Sam Elliott, Josh Lucas, and Nick Nolte

The Plot:
After being bombarded with gamma radiation in a lab accident, Doctor Bruce Krenzler (Bana) finds himself transforming into a giant green-skinned creature known as the “Hulk” (Ang Lee) whenever stressed or emotionally provoked. Relentlessly pursued by General Thaddeus “Thunderbolt” Ross (Elliot), he is forced to face his traumatic childhood when his biological father, Doctor David Banner (Nolte), reveals Krenzler’s true identity as Bruce Banner and attempts to harvest his alter ego’s gamma-induced super healing.

The Background:
Created by Marvel Comics legends Stan Lee and Jack Kirby after being inspired by the story of a hysterical mother exhibiting superhuman strength and classic movie monsters, the Hulk initially struggled a bit to find an audience with Marvel readers. After a series of backup features helped him regain a solo title, the Hulk shot to fame thanks to his popular television show. Although The Incredible Hulk was followed up by three made-for-TV movies, development of an all-new Hulk feature film can be traced back to the early nineties, when producers Avi Arad and Gale Anne Herd commissioned a script from writer Michael France for production with Universal Pictures. Jonathan Hensleigh was initially attached to the project, which entered pre-production in 1997 and would see the Hulk battle man/insect hybrids. David Hayter was then brought onboard to rewrite the script and include a number of Hulk’s more recognisable enemies before director Ang Lee joined the project and chose to focus more on Banner’s psychological issues. Unlike the TV show, the Hulk was a digital creation of Industrial Light & Magic, with Lee himself providing motion capture for the creature, something that Bana felt reduced his screen time. Although Hulk’s worldwide box office gross of just over $245 million was relatively profitable, it was met with mixed reviews; the less-than-stellar critical response quashed plans for a sequel and, when the rights reverted to Marvel, Marvel Studios instead opted to produce a complete reboot.

The Review:
I’ve always had a soft spot for the Hulk; I grew up watching The Incredible Hulk’s TV movies, the 1982 and 1996 cartoons and reading stories published in the seventies, and I remember being pretty excited to see his big-screen debut thanks to how heavily Universal Pictures promoted the film. Billboards, trailers, TV spots, and merchandise was everywhere for Hulk, which sold itself as this big, action-packed blockbuster in the making but was actually a far more cerebral and poignant story about nature, nurture, the sins of the father and the dangers of science.

David’s efforts to improve his physical limits alter his son’s DNA and get him locked up for thirty years.

Right off the bat, Hulk makes a few alterations to the Jade Giant’s origins; in this film, he owes a great deal of his existence to the research of Dr. David Banner. Much of this is recounted in the film’s opening credits, which play over a montage showing that David has spent most of his scientific career trying to improve the human body’s ability to regenerate. Although close to a breakthrough, he is denied clearance from a young Ross (Todd Tesen) and, like any good mad scientist, tests his formula on himself. Although he exhibits no noticeable effects, the same can’t be said for his son, Bruce (Michael and David Kronenberg). David’s excitement over this development soon turns to horror, however, and Ross’s continued aggression drives him to take desperate measures to try and find a way to reverse Bruce’s condition.

Having repressed his childhood trauma, Bruce is a boiling pot of conflicting emotions.

When we catch up with the now-adult Bruce, he has no idea of his true parentage or nature thanks to having witnessed his father kill his loving birth mother, Edith (Cara Buono), and spending his entire life repressing this memory. A genius scientist in his own right, Bruce finds himself unknowing working in the exact same field as his father, only Bruce favours gamma radiation in his experiments with “nanomads”. Bruce has recently broken up with his co-worker, Doctor Betty Ross (Connelly), after his tendency to be emotionally distant and closed off pushed her away (though they maintain a generally friendly relationship despite this) and, like his father, he has a tumultuous relationship with the military, especially Glenn Talbot (Lucas). Talbot sees the potential for Bruce’s work to be weaponised, which brings him into conflict with Bruce’s more pacifist motivations.

Transformed, freed, by the gamma radiation, the Hulk personifies Bruce’s repressed emotions.

Clearly a complex and tormented individual, Bruce nevertheless willingly sacrifices himself to shield their lab assistant, Harper (Kevin Rankin), from a burst of gamma radiation; initially attributing the improvements in his physical condition to the nanomads, Bruce is pushed to the edge following pressure from Ross and a visit from his birth father. When his emotions get the better of him, his rage literally explodes out of him, transforming him into a mindless, green-skinned beast of pure unbridled fury. The Hulk is characterised as being the unapologetic, mutated physical expression of Bruce’s repressed trauma and memories; although Bruce barely remembers his time as the Hulk, he is terrified by the appeal of the Hulk’s uninhibited anger and power, but the Hulk just seems grateful to be out in the world and free from the trappings of his puny human self. Despite being a largely silent character, the Hulk is given a great deal of characterisation through his facial expressions and body language; he has a child-like quality to him and is quick to fly into a rage when provoked or upon seeing Betty in danger.

Betty cannot help but be drawn to the emotionally unstable Bruce and cares deeply for his welfare.

Betty finds herself irrevocably drawn to Bruce; she feels an empathy and attraction to his intelligence, emotional instability, and his mysterious past that he adamantly refuses to discuss at every opportunity. While they both share a love for science, they also share a bond in their unresolved issues with their fathers; Ross has successfully managed to ostracise his daughter with his officious and militaristic demeanour and Betty is enraged when he pursues Bruce with a stubborn vendetta. Seeking to protect Bruce and standing by him through her father’s persecution, Betty is nevertheless both captivated and terrified by Bruce’s transformation into the Hulk; this compels her to turn to Ross for help but, when she sees how insane David is, she does everything she can to try and help Bruce piece together his fragmented memories and come to terms with his violent childhood.

David Banner makes for an absolutely reprehensible and deeply personal villain.

Initially appearing to be a devoted scientist and loving husband and father, thirty years in confinement have driven David to near insanity. The film goes to great lengths to explore the depravity of David’s motivations; the cold-hearted disdain he shows towards Bruce makes him positively reprehensible. David’s obsession with improving himself, gaining power, and avenging himself against Ross and the world makes him a hermit-like, bat-shit crazy mad scientist who cares nothing for his son and wants only to harvest his gamma cells. David’s mockery of Bruce in the finale, followed by his enraged outburst, are a perfect example of just how disgusting, twisted, and very personal he is as a villain since he purposely withholds information from Bruce regarding his birth mother. Having lived half of his life blaming his violent actions on others (specifically Ross), David is willing to manipulate, torment, and attack anyone with his gamma minions to attain his goals, to say nothing of exposing himself to Bruce’s blood and research in order to augment his physical form.

A stubborn military man, Ross launches a vindictive crusade to lock Bruce up.

General Ross is probably one of the most stubborn, pig-headed, and aggravating characters ever put to screen. A loyal patriot, Ross has spent his entire career putting his work before his family; hiding behind his uniform, Ross justifies his actions out of his genuine desire to protect Betty from Banner’s dangerous nature. To that end, he pursues Bruce without any evidence that he’s actually guilty of anything and is fully prepared to lock him up just for being his father’s son. When Ross witnesses Banner’s transformation, he sees the culmination of David’s obsession brought to startling life and throws everything he has at the Hulk to try and subdue him. Still, it’s obvious that he deeply cares for Betty but his method of protecting her is mainly to purposely and officiously keep key information from her and to rage at Bruce for doing nothing more than existing. Ultimately, Betty is able to convince Ross just enough to arrange for a face-to-face between the two Banners but, even then, Ross is fully prepared to electrocute them both to death if they show signs of being a threat.

The Nitty-Gritty:
Ang Lee’s decision to incorporate split screens, dissolves, and multiple camera angles into the same scene is definitely a unique one. While many of these make for some unique and entertaining shots, and they do make the film visually interesting compared to others, it can’t be denied that they are used way too often and become quite distracting at times. One thing that Hulk definitely has going for it, though, is the quality of the actors; Sam Elliot is a notable standout and makes for quite the vindictive interpretation of General Ross by exuding authority and bringing a gravitas to the film in every scene he’s in. However, while far from the longest film I’ve ever seen. Hulk does seem to drag a bit in places; Hulk’s more methodical pace means that it’s not really the sort of film I throw on casually or can just have running in the background.

Hulk is a surprisingly cerebral film and takes a deep dive into the character’s psychology.

This is because, unlike the vast majority of superhero films, especially at the time, Hulk is a much more cerebral film; rather than make a mere monster movie or an action-packed extravaganza, Ang Lee explores Bruce’s emotional and psychological trauma, both of which are portrayed as just as important to his becoming the Hulk as his anger and gamma exposure, which is also true of the character in recent Marvel Comics storylines. A slower, methodical film than many were expecting thanks to the trailers and the general understanding of the character, Hulk in many ways seems to be the exact opposite of what makes the character appealing and yet tackles the route of Banner’s complex psychological profile head-on. To me, this makes for a very interesting character study; even I, a big Hulk fan, never really thought about how complicated Banner’s emotional stability was until this film and Lee does a wonderful job of making the Hulk’s appearances a big deal in the film. When Bruce gives in to his anger (masterfully portrayed by Bana’s intense facial expressions), it is presented as a veritable explosion of repressed emotion rather than merely being an action scene for the sake of having one and the film does a surprisingly good job of delving into the traumatic psychology behind Banner and the Hulk to make the character more than just a mindless monster.

Despite some dodgy CGI shots (…and dogs), the Hulk generally looks pretty impressive.

For the most part, the Hulk is quite an impressive digital character; it’s difficult to bring a character like the Hulk to life and not make him appear cartoonish because of his green colouration and immense size but Hulk set a pretty decent standard. Obviously, some shots and sequences are better than others; thanks to poor lighting and deliberate framing, Bruce’s initial transformation is quite impressive…until the Hulk walks into frame and we see him unimpeded. Lee has the Hulk increase in size and stature as his anger grows, just like in the comics but, at times, the Hulk’s green is a little too bright, his skin a little too smooth and unnatural as well, with the scene of him being encased in expanding foam probably being one of the worst shots of the film. Of course, even the worst shot of the Hulk can’t really compare to David’s gamma dogs; no amount of darkness can hide how terrible these slobbering, cartoonish beasts appear and I can’t help but feel it would’ve been better to save some money and give David just the one dog and focus a bit more on the Hulk’s battles against Ross and his military forces.

Sadly, the finale is a confusing mess of wonky CGI and blurry shots.

When out in the desert battling with tanks and helicopters, the Hulk looks amazing and exudes menace and character with the way he toys with the vehicles attacking him. Similarly, his rampage through San Francisco and the way he “melts” down into Banner are equally impressive, especially as this entire sequence is shot in full daylight. It’s disappointing, then, that the finale takes place under murky darkness; having gained the ability to absorb and take on the properties of things he touches, David transforms himself into a creature of pure, ever-transforming energy in a bid to absorb the Hulk’s great strength. Sadly, this robs us of the power and allure of Nolte’s performance since he transforms into a gigantic electrical beast, a rock monster, and a big…bubble…thing. Unfortunately, this final confrontation is absolutely ruined by being too dark and blurry and confusing, which makes it all but impossible to figure out what’s going on. While it probably would’ve been equally disappointing for David to transform into a grey-skinned version of the Hulk, at least that fight might have been a bit easier to follow; instead, it’s a bit of a bewildering and anti-climatic ending as Bruce manages to overload his father with his rage and is then assumed dead in the aftermath, only to wind up treating the sick in South America.

The Summary:
It’s not easy to defend Hulk, to be honest. Many of the character’s best aspects are set aside in favour of a methodical, psychological thriller rather than focusing on action or excitement, and I can totally understand why the film’s slower, more cerebral approach to this of all superheroes would put some people off. However, for whatever reason, I often find myself enjoying this film. The actors all put in great performances, bringing a legitimacy to the source material in a way others might not, and the Hulk himself looks, for the most part, very impressive. Some shots don’t work, some of the CGI hasn’t aged well, and some of the stylistic decisions might be a bit questionable but there’s no denying that Hulk is a visually impressive film, and quite a unique take on the source material and the genre. More of an introspective character study rather than a bombastic action film, Hulk definitely suffered from poor marketing and I feel is well worth revisiting, especially now when superhero films are bigger and more popular than ever. As much as I enjoy Marvel Studios’ interpretation of the character, which basically erased this movie from continuity, I would have been happy to see a direct sequel to Hulk back in the day and still like to set aside a couple of hours and really get to grips with the film’s character study of the Jade Giant.

My Rating:

Rating: 3 out of 5.

Pretty Good

Are you a fan of Hulk? Did you enjoy the film’s slower, more cerebral take on the character or were you put off by the psychological aspects of the film? What did you think to the CGI and the film’s portrayal of the Hulk? Would you have liked to see a sequel to this film or do you prefer the Marvel Studios interpretation? What is your favourite Hulk story, character, or piece of media? How are you celebrating the Hulk’s debut today? Whatever your thoughts on the Hulk, go ahead and leave a comment below and check in next Wednesday for my Hulk content.

Talking Movies [Dare-DAY-vil]: The Trial of the Incredible Hulk

Dr. K3 Comments

Blind lawyer Matt Murdock first made his debut in Daredevil #1 in April of 1964 and was co-created by writer/editor Stan Lee and artist Bill Everett, with input from the legendary Jack Kirby. While perhaps not as mainstream as characters like Peter Parker/Spider-Man, Daredevil has become one of Marvel Comics’ greatest creations and has featured in a number of ancillary media and merchandise, included a questionably-received big-screen adaptation in 2003 and a critically-successful Netflix series. Still, he’s one of my favourite Marvel superheroes so what better excuse to pay homage to the “Devil of Hell’s Kitchen” than by spending the day celebrating the character?

Released: 7 May 1989
Director: Bill Bixby
Distributor: New World International
Budget: Unknown
Stars: Bill Bixby, Lou Ferrigno, Rex Smith, Marta DuBois, Nicholas Hormann, and John Rhys-Davies

The Plot:
Back on the run and having lost all hope for a cure for his green-skinned alter-ego, Doctor David Banner (Bixby) wanders into a city under the control of crime boss Wilson Fisk (Rhys-Davis). After witnessing Fisk’s men accost Ellie Mendez (DuBois) on the subway, Banner transforms into the Hulk (Ferrigno), framed for the crime, and subsequently arrested. Refusing to stand trial lest the Hulk be unleashed, he offers no co-operation to his blind lawyer, Matt Murdock (Smith), but the two find themselves teaming up against Fisk when Murdock is revealed to be the masked crimefighter known as Daredevil.

The Background:
I’ve mentioned it at length before but, long before the Marvel Cinematic Universe (MCU) dominated cinema screens, Marvel Comics had a decent amount of success with live-action adaptations thanks to the iconic Incredible Hulk television series (1977 to 1982). The show, which coined the unforgettable line “Don’t make me angry. You wouldn’t like me when I’m angry”, ran for eighty episodes before finally coming to an end on 12 May 1982 and firmly entrenched the Green Goliath in the cultural consciousness thanks to standout performances by stars Bill Bixby and Lou Ferrigno, who would go on to voice the character for years to come. About six years after the end of the series, the first of three made-for-television movies was produced; although intended as a backdoor pilot for a Thor (Eric Kramer) spin-off, The Incredible Hulk Returns (Corea, 1988) was, apparently, a ratings success and a second feature-length film was produced to capitalise on the renewed interest. The Trial of the Incredible Hulk was one of my first exposures to the Incredible Hulk show; like The Incredible Hulk Returns, the feature debuted another Marvel superhero, Daredevil, in the hopes of producing a spin-off that never came to pass and also featured Stan Lee’s first ever onscreen cameo in a Marvel production. Overall, though, the film seems to have garnered mixed reviews, with the general consensus being that it didn’t quite deliver on its title or premise.

The Review:
Rather than open with a version of the traditional, iconic opening from the television show, The Trial of the Incredible Hulk begins with a morose narration from David Banner (now using the pseudonym “David Belson”), who catches any newcomers up to speed with his current predicament (literally just a case of, “Gamma Rays turned me into a monster” with a few shots from the pilot episode). We then join Banner, now sporting a thick head of hair and full beard, working a demeaning job digging a trench or a ditch or some such. When a co-worker attempts to rile him up and Banner is barely able to keep his anger in check, he once again regretfully hits the road and heads towards the city, despite warnings that he could “get lost there”.

Though Banner resigns himself to a life in prison, Murdock is determined to bring Fisk down.

Haunted by his many years on the road and inability to cure his unique condition, Banner remains a lost, tortured soul who drifts from place to place and job to job, refusing to put down any roots and to keep himself to himself and on the move. Despite this, however, he is unable to stand idly by when Ellie Mendez is hounded by a couple of goons on the subway; for his troubles, not only does he transform into the Hulk once more but he also winds up in jail and accused of attacking the woman. Although he knows he is innocent, he adamantly refuses to stand trial out of fear of the damage he might do lest the stress trigger another transformation, and feels that prison is a fitting place for him. The city (which, despite never being named, appears to be New York City) is a bustling metropolis and home to blind lawyer Matt Murdock, a seemingly unassuming man who regularly makes light of his condition with his co-workers. He also has a friendly banter with his staff, Christa Klein (Nancy Everhard) and Al Pettiman (Richard Cummings Jr.), whom he wows with his enhanced senses (which they put down to him making wild, if uncannily accurate, guesses). At the heart of the city is Fisk Tower, a large and ominous structure that dominates the city skyline, and Matt has made it his solemn vow to tear the building down, and Fisk with it, once they have concrete proof that he is involved in the city’s underworld.

Fisk plot to control of the criminal underworld is opposed by Daredevil and his newfound ally.

Matt’s suspicions about Fisk are entirely well-founded as the criminal mastermind directs, via radio and video, two of his henchmen in the systematic robbery of a jewellery store. An enigmatic and authoritative figure, Fisk conducts all of his business with precision and immaculate detail, directing every movement and having the entire operation planned to the smallest detail. Untouchable and in full control of the criminal underworld. Fisk’s operation is put at risk when his goons accost Ellie on the subway; when Banner gets involved in the matter, Fisk begins targeting them both in order to avoid linking him to the crime. When Matt is appointed as Banner’s lawyer, he sees this as the perfect opportunity to get a lead on Fisk and is confused and angered at Banner’s unwillingness to co-operate and refusal to divulge his true name and origins. When the stress of an impending trial, Ellie lying about the subway attack (due to Fisk threatening her with reprisals), and his position in general trigger a transformation, Banner is convinced to trust Murdock when the lawyer reveals his duel identity as the masked vigilante Daredevil. Although Banner has reached the end of his rope and lost all faith in the science that was once his life, he finds himself reinvigorated by Murdock’s plight since he was transformed by the better by radioactive substances and he leaves the film far more optimistic and content to have a “brother in the world”.

The Nitty-Gritty:
The Trial of the Incredible Hulk is a relatively inoffensive little extension of the television show but nothing massively spectacular, though I never really watched the show as a kid as it wasn’t really on TV over here in the United Kingdom, as far as I am aware. As a result, I remember being somewhat impressed with the film back then since it wasn’t as if live-action superhero productions were as accessible as they are today. Even now, it’s still pretty entertaining; sure, it doesn’t deliver on its premise at all (the “trial” only happens in a nightmare of Banner’s and seems to refer more to the emotional trial that Banner is going through) but it’s an interesting time capsule of a bygone era when live-action superhero adaptations were certainly ambitious, if nothing else.

The Hulk’s screen time is sadly limited but he sure makes an impression when he does appear.

As is the case with much of the Incredible Hulk TV show, the Hulk himself is unquestionably the star of the film. Sadly, he gets very little screen time; Banner doesn’t even transform into the Hulk for the finale but, when he does turn green, it’s treated as a pretty big deal. This is, however, par for the course for The Incredible Hulk; the episodes I have seen generally focus much more on the drama surrounding Banner, the people he meets, and his weekly attempts to find a cure for himself or help those in need and the Hulk appears very sporadically as a result. While the Hulk’s rampage in Banner’s nightmare is a standout moment in the film, and is a great showcase of the Hulk raging against a room full of people for a change, it’s still just a dream sequence. Luckily, there’s a particularly decent follow-up scene later on when, having witnessed Daredevil be pummelled by Fisk’s men, Banner transforms to save him and, in the process, forms a kinship with the blind crimefighter.

The film was intended as a backdoor pilot for Daredevil, who’s decent enough, if a little boring.

This, coincidentally, brings me on to the subject of Daredevil; Daredevil’s presence is hinted at early in the film as graffiti carrying his name adorns the walls of the city and the film spends a great deal of time setting up Murdock’s day-to-day life, introducing his enhanced senses (although the depiction of his radar sense is a bit questionable), and making him a prominent figure all before he first appears in an all-black ninja outfit to save Ellie’s life. Despite the fact that his outfit is disappointingly barebones, I appreciate that Daredevil is sporting a look straight out of “The Man Without Fear” (Miller, et al, 1993), one of the first Daredevil stories I ever read. Daredevil is something of an urban legend in the film but he is also unofficially sanctioned by police chief Albert G. Tendelli (Joseph Mascolo), who even has a direct line to contact Daredevil when he needs help outside of the normal confines of the law, and allies like Turk (Mark Acheson) to feed him leads. Rex Smith may not always be performing Daredevil’s few limited fight scenes or acrobatic feats (which are incredibly limited) but he does a decent enough job in the role; while the film alters his origin somewhat to have him begin his training as Daredevil as an adult and after being inspired by Tendelli, he undergoes a trial of his own when Fisk’s men put a severe beating on him and leave him feeling humiliated.

While it drops the ball on the title, the film entertains with some decent sequences and performances.

Undeniably, though, The Trial of the Incredible Hulk is elevated by the presence of the bombastic and alluring John Rhys-Davies; despite never using the name “Kingpin”, Rhys-Davies is perfectly cast as Fisk and brings just the right level of authority and scene-stealing charisma to the role to make him larger than life but also threatening. Even better, he’s not just some one-dimensional gangster, either; he’s incredibly lenient with his right-hand man, Edgar (Hormann), even when he has a change of heart and helps Ellie escape from Fisk’s captivity. At the same time, though, Fisk is absolutely ruthless; having grown weary of Daredevil’s interference and wishing to consolidate his power over the city’s underworld, he presents his rivals not just with a number of jewels but also video evidence of Daredevil’s beating. While he fully believes that this has resulted in Daredevil’s demise, his plans are ultimately ruined when Banner and Daredevil crash the party and force Fisk to flee to fight another day.

The Summary:
In many ways, it’s a bit of a shame that The Trial of the Incredible Hulk didn’t lead to a spin-off for Daredevil; even back then, a TV show about a black-suited vigilante had to have cost less to make than one about a scientist who turns into a musclebound strongman. However, I can kind of see why a Daredevil spin-off wasn’t produced; as much as I enjoy the character, his portrayal in the film, and the magnetic presence of John Rhys-Davies, Murdock and Daredevil are nowhere near as compelling or visually interesting as the Hulk. It’s equally a shame, then, that the Hulk has such limited screen time in the film but I can forgive a lot of that as, again, the main focus of the show was always the drama surrounding Banner and the film does a serviceable job of trying to introduce Daredevil and make us care about him. Ultimately, while it’s probably the most boring interpretation of Daredevil you’ll see, I can’t help but have a soft spot for The Trial of the Incredible Hulk; it was my introduction to the TV show and a vital part of my childhood so I have a lot of nostalgic affection for it and it’s worth watching for John Rhys-Davies’ performance alone, to say nothing of the dramatic allegorical and physical trial that Banner and Murdock, respectively, endure in the film.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever seen The Trial of the Incredible Hulk? If so, what did you think to it and its portrayal of Daredevil? Were you a fan of the Incredible Hulk TV show back in the day and what did you think to the feature-length films? Do you think including other Marvel Comics characters benefitted these films or do you think they took the focus away from the Banner/Hulk conflict that made the show so memorable? What do you think of Daredevil as a character and which storyline of his do you think is the best, or the worst? How are you celebrating Daredevil’s debut this year? Whatever you think about Daredevil, drop a comment below.