Tag Archives: Tim Roth

The Incredible Hulk (2008, Louis Leterrier), the extended version

After seeing The Incredible Hulk in theater, I knew a couple things. First, I knew the extended version–the one Edward Norton fought for, that fight costing him the role in future productions–would be better than the theatrical release. Second, I knew its release would be contingent on Norton’s future involvement with the franchise.

So, something of catch-22.

Luckily, there’s an Internet.

The extended version of Hulk runs about thirty minutes longer. It still has the problems the theatrical version does–for example, the big long fight scene at the end is a terrible way to end a movie about three people coming to terms with their actions (Norton, Liv Tyler and William Hurt)–especially when you take into account it boils down to Hurt not liking his daughter’s boyfriend. Simplest is often best and Hulk does get there.

What the extended version improves is everything until that finale. It fleshes out characters–continuing the distilled reading, Norton’s nemesis becomes Ty Burrell (Tyler’s jealous boyfriend), instead of Tim Roth’s creepy but ultimately goofy aging career soldier.

Norton and Tyler–whose relationship anchors the entire film, theatrical cut or extended–becomes even more compelling, the film taking its time with them.

Unfortunately, the added character development makes Hulk‘s competing intentions clash even more. Making a simplistic summer blockbuster out of a tragedy doesn’t work.

Still, the extended version’s a significant improvement. And if Norton and Leterrier ever did get to do a professional revision… I imagine it’d be incredible.

2/4★★

CREDITS

Directed by Louis Leterrier; screenplay by Zak Penn and Edward Norton, based on a story by Penn and the Marvel comic book by Stan Lee and Jack Kirby; director of photography, Peter Menzies Jr.; edited by Rick Shane, John Wright and Vincent Tabaillon; music by Craig Armstrong; production designer, Kirk M. Petruccelli; produced by Avi Arad, Gale Anne Hurd and Kevin Feige; released by Universal Pictures.

Starring Edward Norton (Bruce Banner), Liv Tyler (Betty Ross), Tim Roth (Emil Blonsky), William Hurt (General ‘Thunderbolt’ Ross), Tim Blake Nelson (Samuel Sterns), Ty Burrell (Leonard), Christina Cabot (Major Kathleen Sparr), Peter Mensah (General Joe Greller), Lou Ferrigno (Security Guard) and Paul Soles (Stanley).


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Rosencrantz & Guildenstern Are Dead (1990, Tom Stoppard)

I’d heard of Rosencrantz & Guildenstern Are Dead, of course. I’d probably even meant to see it at one point, probably around the time of Branagh’s Hamlet, which is when I first got big into Shakespeare. But it was only available on VHS and I was already addicted to widescreen. Oddly, this viewing–at the wife’s request–was widescreen. I thought all the DVD releases were pan and scan. So waiting worked out.

More, it worked out because I probably wouldn’t have been able to appreciate the film as much ten years ago as I am able today. The characters trapped in the confines of a narrative, realizing they’re free of agency–well, I’m familiar with it from Breakfast of Champions. But Rosencrantz & Guildenstern goes a little further in discussing the drama as a whole.

It took me a while, I’ll admit, to realize what Stoppard was doing (at the beginning, I just figured they were dead and reliving the experience of Hamlet in some afterlife). Once I did, I appreciated it.

But, honestly, not as much as I appreciated the updating of “Who’s on first?”

Tim Roth and Gary Oldman are both fantastic. It’s stunning to see Oldman in such a well-written role. It’s been a long time since he’s been concerned with acting (kids, swimming pools, et cetera, I imagine).

Stoppard’s direction is excellent. It’s understated and profound.

Richard Dreyfuss is great in a somewhat unexplainable role. Iain Glen and Ian Richardson are good in the Hamlet sections.

4/4★★★★

CREDITS

Directed by Tom Stoppard; screenplay by Stoppard, based on his play and a play by William Shakespeare; director of photography, Peter Biziou; edited by Nicolas Gaster; music by Stanley Myers; production designer, Vaughan Edwards; produced by Michael Brandman and Emanuel Azenberg; released by Cinecom Entertainment Group.

Starring Gary Oldman (Rosencrantz), Tim Roth (Guildenstern), Richard Dreyfuss (The Player), Joanna Roth (Ophelia), Iain Glen (Hamlet), Donald Sumpter (Claudius), Joanna Miles (Gertrude), Ljubo Zecevic (Osric), Ian Richardson (Polonius), Sven Medvesek (Laertes), Vili Matula (Horatio) and John Burgess (Ambassador from England).


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The Incredible Hulk (2008, Louis Leterrier)

All I wanted from The Incredible Hulk was dumb fun. I figured Louis Leterrier could deliver. Unfortunately, it’s not dumb fun, but Leterrier does deliver–and instead of fast food, it’s rather good French. Frequently, Hulk showcases Leterrier’s directorial abilities and they’re significant. Leterrier handles everything the story needs–be it rural or urban, Brazil or New York (well, Canada). The Incredible Hulk has a distinctive, maturing visual style. Leterrier adds on to the beginning until he reaches the end, which is his sole misstep.

But I’ll start at the beginning. The Incredible Hulk drops the viewer into a continuing story (sort of, again, more on this bit later) and doesn’t give he or she a lot of information. For example, expatriate Edward Norton seems to have a flirtation with his neighbor and co-worker, but it doesn’t go anywhere. Norton spends most of this time alone, not even with his dog, and it doesn’t move. Norton can make watching “Sesame Street” interesting, but the script cannot. So there are lots of cuts to William Hurt’s pursuit of him. Hurt’s not an Ahab here, which is an interesting move, but one of the script’s eventual bungles (it fails to recognize what it’s done with the character). Eventually, Norton heads back to America and the script hits the first enormous logic hole. Hurt returns to the U.S. too, but has no idea Norton wasn’t still in Brazil. Norton’s reasons for heading back are inferred, rather than explained. They’re neither shown nor told. Except maybe in the press release.

As Norton gets back, the movie starts toward its now inevitable conclusion. The Incredible Hulk is not really a continuing story, it’s just a story deferred. Apparently, in the five years in between the opening titles recap and the present action, there haven’t really been any interesting Hulk sightings. It’s an origin movie, only with the fight scene five years later than it should be.

But the break does make the relationship between Norton and Liv Tyler better. Tyler starts incredibly weak, but once she and Norton get together (actually, it starts with her and the CG Hulk), she gets good. Even though she’s a scientist (sure), her voice turns their relationship into an analog of Toad and Debbie’s, from American Graffiti, and the relationship sustains through the rest of the film. But the movie’s already half over when they finally get together alone and the third act and the big fight scene hang over the scenes like the Sword of Damocles.

The big fight scene at the end starts all right, but then it gets real dumb. Zak Penn’s a terrible plotter. The fight gets boring once it’s the two CG monsters duking it out, the only accessory a helicopter. It’s just nowhere near as interesting as the idea of the fight putting people in danger. When everyone shows up to (silently) commend the Hulk, it doesn’t make any sense… only two people saw the fight scene besides the viewer.

The script’s the big problem, summarizing too much or just insinuating too many important details. There are some great moments–and they do resonate and they are memorable–but there’s too much malarky.

Norton’s amazing–I don’t think any other actor could have made the Brazilian exile believable. Everything he does is gold in the film. Tyler’s got that incredibly problematic start (why does she have to be a scientist too?), but then she’s fine. Good even. Hurt’s okay, nothing more. He’s probably never had such a poorly written character. Tim Roth’s decent, until the script fails him. Tim Blake Nelson’s strangely bad, overdoing it as a generically eccentric scientist. His character and the lack of explanation is another big script defect.

The tie-ins to the Marvel comic books are almost all terrible. They’re only goofy at the start, then there’s the excellent scenes with Norton and Tyler on the road and the hints of what a good movie it could have been (not dumb fun either)… or the nice references to the television show. With the exception of the use of the show’s theme music, which is disingenious. Then there’s the Robert Downey Jr. cameo at the end, which is a disgrace. Maybe if they’d stuck it after the credits, but it basically takes the movie away from Norton and gives it to Downey. I’d be shocked if Norton ever makes a return to the character, given the diss.

With Leterrier’s direction, with Norton, The Incredible Hulk should have been good. With Leterrier turning out to be a great director (though the fight scene at the end is too Hollywood, not at all visceral), it should have been ever better.

Instead, it hints of a good film and it should do much more. Especially given how… incredible the love story turns out to be.

1.5/4★½

CREDITS

Directed by Louis Leterrier; screenplay by Zak Penn, based on a story by Penn and the Marvel comic book by Stan Lee and Jack Kirby; director of photography, Peter Menzies Jr.; edited by Rick Shane, John Wright and Vincent Tabaillon; music by Craig Armstrong; production designer, Kirk M. Petruccelli; produced by Avi Arad, Gale Anne Hurd and Kevin Feige; released by Universal Pictures.

Starring Edward Norton (Bruce Banner), Liv Tyler (Betty Ross), Tim Roth (Emil Blonsky), Tim Blake Nelson (Samuel Sterns), Ty Burrell (Dr. Samson), William Hurt (General Ross), Christina Cabot (Major Sparr) and Lou Ferrigno (the security guard).


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