william hurt

I think we can safely call a halt to these semi-annual Hulk movies now – the new one is good enough that we can all move on (Ant-Man is evid­ently next). The Incredible Hulk is Marvel’s attempt to wrestle back the fran­chise that got away from them under Ang Lee in 2003 and even­tu­ally re-unify the Marvel uni­verse under the suave, unstop­pable box office force of Robert Downey Jr’s Iron Man. To retrieve The Hulk, Marvel cast Hollywood’s weedi­est lead­ing man, Edward Norton (Fight Club), not real­ising that Norton also has a repu­ta­tion as a bit of a med­dler who then re-wrote the script and sat in on the editing.

The res­ult, as you might expect, is a bit of a noisy mess, but far from dis­astrous. After a splen­didly con­densed open­ing title sequence which takes us through the back-story of the ori­gin­al exper­i­ments that Gamma-ized poor Bruce Banner, we meet him on the run in Brazil, labour­ing in a bot­tling plant, tak­ing anger man­age­ment classes and col­lab­or­at­ing online with a mys­ter­i­ous sci­ent­ist who may hold the key to a cure. Unfortunately for him, the General (a suit­ably comic-book per­form­ance by William Hurt) arrives with a squad to take him home. This makes him angry, of course, and unleashes the green beast within.

If any­thing, it is more respect­ful of the TV series than the com­ic book, fea­tur­ing cameos from ori­gin­al Hulk Lou Ferrigno and a clunky posthum­ous cameo from TV Banner Bill Bixby. In fact, look­ing back on it the film spends more time hon­our­ing the past than it does driv­ing into the future, often fall­ing prey to cutesy touches like hav­ing Norton Anti-Virus fire up when Banner logs on to a com­puter. Chief Villain Tim Roth looks like Chelsea own­er Roman Abramovich, which makes his char­ac­ter name, The Abomination, per­fectly apt.

Paul Haggis cre­ated the Oscar-winning Crash back in 2004 and, after help­ing rein­vent Bond in Casino Royale, has gone back to the polit­ic­al well with the heart­felt In the Valley of Elah, star­ring Tommy Lee Jones. Jones plays former Army invest­ig­at­or Hank Deerfield. His son has just returned from Iraq but imme­di­ately gone AWOL so Hank travels across Texas to find him. What he dis­cov­ers shakes his faith in his coun­try and the mil­it­ary and (I’m guess­ing) is sup­posed to have some meta­phor­ic weight about the state of the nation and the world and it prob­ably does. I was one of many who found Crash to be appalling, un-watchable, rub­bish but Elah (per­haps because it does­n’t try and do so much) is better.

While Haggis wears his heart on his sleeve, what he really needs is a copy edit­or on his shoulder. Someone needs to tell him that when you cast someone as soul­ful as Tommy Lee Jones you can just let him tell the audi­ence what is going on with his eyes – you don’t then have to then verb­al­ise it in the next shot. Probably an easy mis­take to make when you are a writer first and a dir­ect­or second…

If Haggis needs a copy edit­or then M. Night Shyamalan needs a secur­ity guard on the door of his office, hold­ing the keys to his type­writer. The Happening is an eco-thriller about a mys­ter­i­ous “event” that causes people across the North East of America to lose their minds and then do away with them­selves. Among those caught up in the mess is high school sci­ence teach­er Mark Wahlberg who thinks the mys­ter­i­ous dis­ap­pear­ance of America’s bee pop­u­la­tion might have some­thing to do with it.

Shyamalan has obvi­ous tal­ent as a dir­ect­or: he has an eye for an arrest­ing image and has seen enough Hitchcock to con­struct effect­ive set-pieces but he can­’t write dia­logue that human beings can actu­ally say which con­tinu­ally drops the audi­ence out of the moment. Luckily, whenev­er I lost con­nec­tion to the story, there was Zooey Deschanel (as Wahlberg’s wife), whose elec­tric blue eyes should be cat­egor­ised as an altern­at­ive fuel source.

Outsourced is return­ing to cinemas after a brief turn at the World Cinema Showcase. It’s a beguil­ing tale of a Seattle call centre man­ager (Josh Hamilton) who has to go to India to train his replace­ment when the nov­elty com­pany he works for relo­cates “ful­fil­ment” to Gwaripur. The usu­al cross-cultural mis­un­der­stand­ings occur but the char­ac­ters all grow on you, much like India grows on our hero.

Finally, legendary social com­ment­at­or Adam Sandler takes on anoth­er press­ing polit­ic­al issue (after gay mar­riage in I Now Pronounce You Chuck & Larry) and helps solve the con­flict in the Middle East with You Don’t Mess With the Zohan, a hit and miss com­edy that is mostly hit for a change. Sandler is the Zohan, num­ber one Israeli counter-terrorist oper­at­ive, who is tired of the end­less con­flict and yearns to emu­late his hero (Paul Mitchell), cut hair in New York and make everything “silky smooth”. So he fakes his own death and smuggles his way in to America where the only job he can get is in a Palestinian salon. His unortho­dox meth­ods with the ladies soon make him very pop­u­lar indeed but the con­flict is nev­er far away.

There are plenty of jokes per minute and the relent­less teas­ing of Israelis for their love of fizzy drinks, hum­mus, disco and hacky-sack is pretty entertaining.

Printed in Wellington’s Capital Times on Wednesday 18 June 2008.

Nature of con­flict: Outsourced is dis­trib­uted in New Zealand by Arkles Entertainment who I do a little work for now and then.