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The origin story, dwelled upon at great length in “Hulk,” is here telescoped into a neat little montage that accompanies the opening titles. Bruce was conducting research for the Army under the supervision of a cigar-smoking general (William Hurt), whose daughter, Betty (Liv Tyler), was Bruce’s girlfriend. The experiment went horribly wrong and Bruce escaped to Brazil, where he lives with his dog in a hillside slum and works at a soda factory.
“Get our agents to look for a white man in that “Get our agents to look for a white man in that bottling plant!” the general barks when he learns of Bruce’s whereabouts. Though Brazil is home to millions of people who might fit the general’s description, the military has no trouble finding Bruce’s modest little home. A member of the squad, Blonsky (Tim Roth) is sent to bring him in — the general wants Bruce’s data for further study. In the meantime, after Bruce’s pulse rate spikes, the Hulk is glimpsed through the murk of night-vision goggles and in shadow, smoke and soda-pop vapour.
The creature looks better that way than he does when, a while later, he emerges in the light of day to smash up some government hardware on a Virginia college campus. That there is no resemblance between them is perhaps to be expected, but it also exposes a genetic flaw that makes “The Incredible Hulk” less interesting — clumsier, more brutish — than many of its comic-book-derived counterparts. Superhero movies depend not only on virtuosic special effects or action set pieces, but also, perhaps even more, on the psychological drama of existential division. The mild-mannered reporter is also the man of steel; the reclusive millionaire dons mask and cape to fight evil. We'll leave you at that... be a judge yourself.