The Ambivalent Reception of Ang Lee’s “Hulk”: A Hit or a Miss?

Torn in the air and praised to the skies: The reception of Ang Lee’s “Hulk” film is as ambivalent as its protagonist. And over the now two decades that have passed since its theatrical release, it’s only gotten worse! Alternatively, “Hulk” is an eyesore on the Life Of Pi creator’s résumé and radioactive proof that Nolan and the MCU needed to take superhero movies to a new level.

Or it’s a stroke of genius that shows how creative comic book films can be if you let a director do his thing. Make up your own mind: Ang Lee’s “Hulk” is on Nitro today, May 3, 2023 from 8:15 p.m – unfortunately only in a shortened FSK-12 version. If you want to see “Hulk” in full length and from the age of 16: The film is available via Prime Video as VOD rentals as well as for purchase.

“Hulk” on Prime Video*

For all those who do not know the story of the great rage monster, the plot should be briefly touched on: nuclear physicist Dr. Bruce Banner (Eric Bana) has dedicated himself to researching gamma rays with his ex Betty Ross (Jennifer Connelly). When Bruce gets an extraordinary amount of gamma rays in a laboratory accident, his inner turmoil is multiplied: When the quiet physicist, who has always had a hidden and angry side, gets angry, he now mutates into a green monster – the Hulk!

“Hulk” very angry: That’s why Ang Lee made a mistake

Long-winded, bone dry and full of calendar wisdom and kitchen psychology: The “Hulk” opponents do not leave Lee’s narrative pace a good hair. Or about it, with which cramped heaviness he stylized Bruce Banner’s split nature into a profound topic.

Nick Nolte’s acting as Bruce’s father amplifies this problem: The fact that the top physicist has complexes over his loveless, unstable father pacing the scene like a caricature of a babbling drunk doesn’t do “Hulk” any favours. Too silly for Ang Lee’s effort to mold the Marvel comic into Greek tragedy, too painfully uncomfortable for superhero riots with an effect-laden finale.

The unconventional, eccentric cut with which Lee imitates a comic book look clashes with the tonality, in which the scenes are played and written. Likewise, the comic-like exaggerated symbolism from “grippy” to “embarrassing” because it’s all conveyed doggedly and pathos-laden. The half-baked designs and animations of various CG creatures finally bring “Hulk” to the tipping point.

“Hulk” big: That’s why Ang Lee shone

All this criticism is humbug says the pro side! Using split screens and solemn scene transitions, Lee breathes kinetic energy and life into the act of reading comics. But just because Tiger And Dragon editor Tim Squyres’ editing is eye-catching, doesn’t mean Hulk has to be a fast-paced action comedy!

Written by James Schamus, Michael France, and John Turman, the screenplay recognizes the darkly funny, symbolically over-the-top action-horror premise behind The Hulk for what it is: a mass-market, over-the-top, universal tale of internalized conflict and… impulsive feelings.

In his implementation, Lee combines this respectful, but not bluntly drooling after fan service, positioning towards the comic with his will to style and pathos, inflated to the size of a gamma ray monster. The finale alone, which metaphorically and visually brings together air, earth, fire and water, stands out from everyday superhero film life – especially since it rounds off emotional conflicts and satisfies the genre-related desire for catastrophic escalation.

Eric Bana’s Hulk may suffer from the possibilities of 2003 CG trickery, but is played with appropriate, seething frustration. And Sam Elliott as the snarling General Ross is casting perfection almost in the same league as JK Simmons’ casting as J. Jonah Jameson in Sam Raimi’s Spider-Man films.

“Ant-Man 3” on Disney +: So soon you can stream the new Marvel sci-fi spectacle with a subscription

*The links to the Amazon offer are so-called affiliate links. If you make a purchase through these links or subscribe, we will receive a commission. This has no effect on the price.