DARK AVENGERS #11: Sigh. I just have a soft spot for the Molecule Man, I’m sorry guys. And I really think Bendis has hit his groove with this title, mixing his patented naturalistic dialogue with action, perfectly complemented by Mike Deodato’s moody art. Plus, in this issue, we get some painted pages by Greg Horn, and I don’t know the last time I saw interior art by the guy, but it looks great. This is a great looking comic, lots of fun, and I’m going to be a little sad to see it go (assuming it does, in fact, go after the upcoming Siege event).

DARK REIGN: THE LIST – AMAZING SPIDER-MAN: Adam Kubert draws an amazing Spider-Man (no pun intended), but I guess you wouldn’t expect anything less from the guy. First off, I’ll say its a smart move by Marvel to use Mr. Kubert on specials and short runs, rather than promising he can deliver a monthly book. That’s another win in Mr. Wacker’s column, in my book. And this book looks great. Reading wise, Dan Slott turns in another near perfect Spider-Man script, perfectly melding character moments, old-school fun, and good story. Except, and I’m going to get back on my soapbox now that we’re done with this “List” event… Basically nothing happens. In the grand scheme of things, I mean. The one List book that had a major event was The Punisher, which by all accounts was, I think, a high mark for Rick Remender, The Punisher, and Marvel in general. Not that every issue of The List needed to hold up to that standard, but I wish there was some sort of moving the story forward, that something had happened. There is a minor victory for Peter Parker towards the end of this book, and its a nice moment, but honestly, is Parker leaking a video on the internet really going to show up as a plot point in any other book?

It’s frustrating, because I would really, really like ASM: The List to be the biggest and baddest part of this mini-event, but it just can’t be, because… You can’t have Spider-Man win that big. Spidey can’t actually reveal Norman’s true villainy to the world, because that would mean Spider-Man was revealed as a world-wide hero. There’s ways around that, sure, but Spider-Man works best when everybody hates him. So he can’t win that big, he has to win, but kind of lose. And he can’t kill Norman, because he doesn’t kill. Plus, we got to save that for Siege, right? My point is, as a fan, I still think of Osbourne as Spider-Man’s villain, and I feel like Spidey needs to take him down, but given the character, and the layout of the Universe, that just can’t happen. So instead, I’m frustrated.

Anyway, great looking issue, solid read, if you want some pretty Kubert art, pick it up.

DEADPOOL: MERC WITH A MOUTH #5: This title is growing on me, but veeeery slowly. Not to sound like a broken record, but considering you’ve already got Deadpool and Headpool in the book, it seems unnecessary and repetitive to even include the Deadpool double narration boxes. I’d rather just see those two bicker and be done with it. I also like how The Gisch is filling out the supporting cast with fun riffs on previous DP continuity. I’m curious to see where this goes after this arc, and hopefully, it can forge its own way, and move out of… Way’s… shadow.

INCREDIBLE HULK #604: You know that feeling when you take a deep breath and let it out, and how relaxing and refreshing that is? That’s what having Greg Pak back on the Hulk is like. A breath of fresh air, or at least air you’ve breathed before that feels fresh again. Or something. Anyway. Banner, Skaar, and Warbound vs. The Leader? What’s not to love? Pak keeps adding his own take to the Hulk mythos, and shows why he’s the best writer of the character since Peter David. Love this series, pick it up.

MIGHTY AVENGERS #31: Dan Slott and Christos Gage bring it all together to end out the best arc of this title in a good long while. Classic Avengers action, classic avengers moments, great fun shout outs and good actions pieces. My only caveat is that the art seems a little crowded, but that’s a quibble when its so much fun to just see heroes being heroes, and all working together to save the day. Fun.

NOMAD: GIRL WITHOUT A WORLD #3: As nice as it is to see Sean McKeever back at Marvel, working in high school (where he excels), this just isn’t grabbing me. It ain’t bad, by any means, its a well crafted comic book, but I guess I just don’t care enough about Rikki Barnes yet. Ah well.

PUNISHER #11: Tony Moore and Rick Remender working together is a-okay with me. And this Frankencastle storyline gets to an insane, over the top start, as you might expect. Love it.

REALM OF KINGS: Abnett and Lanning have one of the most complex, yet easy to follow road-maps for their cosmic books I’ve ever seen. And it all kicks off in spectacular fashion in this one shot. I thought they couldn’t take the action and danger to another level. I think I was wrong. Love these books, love the direction of them, and I love the focus that’s happening throughout. Great stuff.

REALM OF KINGS INHUMANS #1: On the other hand… There’s a killer last page to this issue, but otherwise, it’s one of the more snooze-worthy Inhumans mini-series in a while. Granted, the characters are in a place where they’re all miserable, and for the first time in a long time, they have a real status quo that can’t immediately be broken, but it feels like the backbone of this cosmic universe has moved on to Nova and Guardians of the Galaxy.

THUNDERBOLTS #138: Jeff Parker makes his debut on the title, and while I love the Parker, this won’t knock anyone’s socks off. However, he continues the feel of the past few issues well without missing a beat… I’m just looking forward to him maybe blazing his own path. And maybe bringing in a few A-Listers. It feels like this title needs a new mission statement, and soon.

WAR MACHINE #11: The little title that could keeps chugging along, and though I THINK it’s canceled already, Greg Pak has made a fascinating uber story that has done a lot to build up Rhodey’s character, and define his supporting cast. It’s too bad this won’t be around in the long term, because in Year Two, it feels like it could have gotten quite good.

WOLVERINE WEAPON X #7: I’m totally loving this storyline, with Logan caught in the world’s most disturbing lunatic asylum, scared and fighting for his life. Sure, it’s not the most original story of all time (it’s been done in Buffy, for one), but I’m completely caught up in the mystery, and can’t wait to find out how Wolvie ended up there. Kudos to Jason Aaron for turning in another solid arc.

X-MEN LEGACY #229: Speaking of little engines, I still don’t get what this title is about (other than secretly The New Adventures of Rogue and Gambit), but Mike Carey, as always, chugs right along with a solid story that pays tribute to Generation X, one of the much beloved, much forgotten pieces of X-history past.

DARK REIGN: THE LIST – HULK - After this issue, I really want to see a Ms. Hand vs. Agent Brand fight. They both have weird hair, and oppositely tinted sunglasses! Anyway, this is reliably solid work from Pak, and though there is a biggish event in the issue, it doesn’t feel as remotely necessary as the main issue of Incredible that comes out this week. Weirdly. I really, really want to like this “List” event, but the whole thing feels held back by a lack of change.

DARK WOLVERINE #79 - Smart. If there’s one word I’d use to describe Dark Wolverine, that’s the one I’d use. It’s a bunch of intelligently written double crosses that have done far more to outline Daken’s character, and make him a viable addition to the Marvel Universe. Though I have no idea how it would fare in the long run or if once Daken leaves Osborn’s employ it’ll even be worth it, I’d be more interested to see a Daken ongoing than any of the thousand Wolverine stories that are happening at any particular time. Wolverine is in stasis; Daken has the ability to grow and change.

DEADPOOL: MERC WITH A MOUTH #4 – This continues to be one of the top three Deadpool books being published by Marvel!

INCREDIBLE HULK #603 - As I said earlier, I’m loving this book now. Great, great character work with Skaar and Banner vs. Daken and Wolverine, a nice twist on the old Hulk/Wolverine rivalry that perfectly fits with the characters. The Wolverine/Banner stuff in particular is fun without feeling forced. I don’t know that I’m 100% buying the “Banner is the true monster here!” thing that’s going on… He’s not Professor X for goodness sake (plus, why smart people have a whole madonna/whore thing going on in the Marvel U is a much longer essay). But I’ll buy it for the fun interplay between Banner and Skaar, and because I’m really curious to see where this is going. Pak consistently plays the long game, so I’m in for the long haul.

INVINCIBLE IRON MAN #19 - Is it fair to call this the best Iron Man story ever? Probably not until the next arc (Tony Stark: Disassembled) is done, but in my mind I can’t think of a better one. Demon in a Bottle was revolutionary, but it doesn’t hold up. Armor Wars, I guess, but again… Just okay. Fraction has crafted a brilliant Flowers for Algernon meets Marvel U tale that works in and out of continuity. Yes, it’s essentially based in current Dark Reign stuff. But I contend that all you need to know is that Norman Osborn has stolen Tony Stark’s armor, and now wants everything else that’s in him. That’s all you need to know. And though the “twist” Fraction has been touting for the end may not be as mind-blowing as he’s teased, it is pretty sweet (natured that is), and a great pay-off for long time fans of the current Marvel U. Can’t wait for the next issue.

MIGHTY AVENGERS #30 - Right around this arc is when Mighty Avengers became fun again, and this issue is no different. Big Avengers action, old school style, and I’m enjoying every moment of it. There’s a scene so ballsy in here with Hank Pym, I wanted to scoff, and yet… It felt like the Avengers comics I used to read as a kid, with silly over the top cosmic moments that aren’t there to darken the Universe; they’re there to lighten them. MA is on the vanguard of what’s probably coming from Marvel next year, and if this is the direction, I like it.

SPIDER-WOMAN #2 - This is great. Bendis writing a character he loves, in a genre he loves, with Alex Maleev drawing? Lovely. And I’ll say for the record that this is probably worth the extra two bucks, versus the motion comic, so you can spend some time with Maleev’s art.

THUNDERBOLTS #137 - I love Rick Remender, but this is the most fill-in issue of Thunderbolts in a long while. Looking forward to Jeff Parker picking it up next ish (I think?) so we can get back to building the story.

WOLVERINE ORIGINS #41 - The first half of this issue, which essentially treads the same ground as Incredible Hulk this week, is the most fun I’ve had reading a Wolverine story in a good long time. Big fun moments, great character work, and then… Then Romulus, king of the wolf-people, master of bonking people on the head with swords, and nefarious owner of an operator style telephone headset comes back into play. Sigh. I’m all for maniacal uber-villains, but this guy is just not doing it for me. He’s more Dr. Claw than Apocalypse, and that’s just silly. Probably worth a pick up, though, for the delightful first half.

X-MEN LEGACY #228 - I guess the MO of this title now is “in flux?” Or, at least, reflecting the side goings-on of the main X-Men continuity. Mike Carey turns in a reliably solid script, and Emplate is a pretty great villain… But I wish I knew where this was going. Back when the title got renamed after Messiah Complex, my main concern was that Professor X regaining his memory wasn’t a sustainable concept. And though it lasted far longer (and better) than I thought it would, the title has switched over to Rogue, Gambit, and Danger. Which is nice and all, but again, there doesn’t seem to be a mission statement here other than “support the main title.” Probably a bit more sustainable in the long run, but also not the most necessary of concepts. Anyway, it’s a good issue, worth picking up, but I wish there was more of a focus. Ah well.

AMAZING SPIDER-MAN #606: The Black Cat returns! This isn’t a spoiler, because it’s in an ad in every Marvel comic. And, you know, the cover. Anywho. I’m kind of getting repetitious with beating the “Spider-Man is as fun as it has ever been” drum, so here’s one particular aspect of this issue I found surprising in a negative way: it felt like a big step backwards for the Black Cat. Not that I don’t love the her and Spidey romance issues (creepy roof-sex aside), but she’s grown a LOT as a character in the intervening years, and doesn’t really deserve to find herself back with Spidey, yet again. Yeah, weird, I know. Other than that, relatively fun issue, but also a slight step down from the creepiness of Van Lente’s excellent Chameleon arc, and the gang-busters over-sized #605.

ANITA BLAKE, THE LAUGHING CORPSE – NECROMANCER #5: This preview had, without a doubt, the longest file name I’ve ever seen.

AVENGERS: THE INITIATIVE #28: Though this series continues to be good, it’s suffering from what a lot of books get after the main purpose, and the main creative team move on… This used to be the backbone of the Marvel U, and I used to recommend it to anyone who wanted to know what was going on in Marvel comics. It was a great refresher, good character stories, and great art, issue after issue. It still has most of that, but it’s no longer the backbone, it’s more of a, I don’t know, what’s an unimportant bone? The skull? Well, anyway, the series is still reflective of what’s happening in the Universe at large, but it no longer seems to be effecting it. I’m curious to see whether this title will stick around in the long run.

DARK REIGN: THE LIST – X-MEN ONE-SHOT: As a gigantic fan of John Byrne’s work on Alpha Flight and the Fantastic Four, there’s a page in here that absolutely killed me and ripped my heart out like nothing else I’ve read this week. Beyond that, Matt Fraction turns in a reliably solid story directly following off the Utopia cross-over, and though I usually swoon over Alan Davis’ work, this was not my favorite issue he’s ever done. And in the larger view, I’m finding that this List event, while a solid series of comics, is not really delivering the lasting change that was promised. Like most of Norman Osborn’s projects, its all spin.

DARK X-MEN: THE CONFESSION ONE-SHOT: I would contend that this issue goes in the exact opposite direction of what you’d expect to happen. I’d also contend that maybe this is a good thing. And for those of you expecting big action, well… It’s called the Confession, not the Explosion. Nice one, Zalben.

ENDER’S SHADOW: COMMAND SCHOOL #1: All of these series so far are very, very good, but the books about Bean are a step above. I wouldn’t say this issue is necessarily a good jumping on point, but both of the Command School books are far more focused than the Battle School books. Makes me want to read the actual novels, and that’s a compliment.

FANTASTIC FORCE #4: Two points about this: 1) I wonder if, in Hickman’s book, when Ben and Johnny visit Nu-Earth, this series will be referenced at all, and 2) Last page has the most ridiculous, over the top thing Wolverine has ever done in the entire history of published Wolverine comics. This is not hyperbole.

FANTASTIC FOUR #571: The promise of last issue’s final page is fulfilled, if not in full, then at least in satisfying fashion. Plus! Though we’re pretty much focused on Reed(s), everybody else’s dialogue reads far more smoothly than it did last issue. Also! I’m really starting to think this series is not taking place in our main universe. Not going to say why, just my pet theory. Prove me wrong, Hickman. Prove me wrong. Or prove me right, either way is fine.

GUARDIANS OF THE GALAXY #18: Every single time I get sent an issue of this, I think Marvel has started publishing Gargamel comics, but that’s probably only weird to me (they abbreviate its title as “GARGAL”). And I know you’re all interested in file names, but on to the review of the issue: this series is darn good and fun. This issue, in particular, reminds me of a certain Bill Murray movie (if you said “Operation: Dumbo Drop,” you would be wrong), and is much lighter than the last issue in tone and execution. And I’m curious, more than anything, to see what the long game here is, and how it will play out. That’s enough to keep me on for the long haul.

IMMORTAL WEAPONS #3: The best thing about this series is that each issue has its own look and feel to it, as each one focuses on a different Immortal Weapon (hence, you know, the title). While this is my least favorite of the three so far, that still means its heads and tails above most comics, and Iron Fist fans should be picking this for Duane Swierczynski’s back-ups alone.

INCREDIBLE HERCULES #135: Every issue of this series is a fabulous adventure that deserves to be collected and read over and over. When people ask what the best comics of the first decade of the century were, they’ll fondly recall Pak and Van Lente’s classic run on Incredible Hercules. If you’re not reading it, you might as well give up reading comics. This is also not hyperbole.

INCREDIBLE HULK #602: People have been saying my critical faculties towards Hulk comics have been compromised since I wrote Hulk Team-Up (still on sale at comic book stores everywhere!). But if that were true, would I say that Incredible Hulk is back, and as good as it’s ever been? That the pairing of a de-powered Banner, and a finally starting to have fun Skaar is enjoyable, high action, smart comics? I mean yeah, I guess I would. But that doesn’t make it any less true.

MS. MARVEL #45: This arc may have gone on about one issue too long (it’s starting to feel a leeeeetle flabby), but damn if Brian Reed hasn’t taken Ms. Marvel to a new level, breaking the character down and making her completely unique and worthwhile.

NEW AVENGERS #57: Okay, remember earlier when I was complaining about things not mattering in Avengers books? This matters, for one character in particular, and the Marvel U at large. One of Bendis’ tightest, punchiest arcs on the book so far, full of fun moments, danger, and great character work.

NOVA #29: This issue is an ever-so-slight comedown from the great War of Kings tie-ins, but if you’re looking for old school comics at their best, look no further. I’ve never been a fan of the cosmic stuff, but I’m a fan of good comics, and Abnett and Lanning have made a believer out of me.

SPIDER-WOMAN #1: That’s weird… This motion comic barely moved at all.

UNCANNY X-MEN #515: A great character issue for Cyclops fans, showing probably the most realistic reaction to a big event I’ve ever read in a comic in a while. Also, a killer last page, but then, we all knew it was coming. Right?

WOLVERINE FIRST CLASS #19: “Wah, wah, wah. Comics are expensive. Wah, wah, wah. I can’t buy comics without having to buy a thousand other comics to understand what’s going on, so I won’t buy comics. Sniff, sniff. Everything is so dark, why aren’t comics fun anymore?” Hey crybaby: Wolverine First Class is an easily accessible, super fun comic book series for readers of comics new or old. This one comes with a fabulous Skottie Young cover, and only cost $2.99. Peter David writes (you like him, right?), and Dennis Calero draws (you DEFINITELY like him, right?). Game, set, and match, a-hole.

WOLVERINE ORIGINS #40: I really, really hope that this Romulus stuff pays off by revealing the mastermind behind everything is Remus, King of the Bird-People. But then, that’s only one of the many reasons I’m not writing Wolverine Origins.

WOLVERINE: OLD MAN LOGAN GIANT-SIZE #1: Goatse cover aside, this is a fun, big action conclusion to Millar and McNiven’s run on the title. And I’m going to reiterate what I’ve been saying all along: this is going to be a fabulous collection. Each individual issue, this one included, is like a light snack, with pretty much one major action beat per comic. But read as a trade, it’ll be a full, satisfying meal. McNiven’s pencils are cinematic, as always, and Millar writes cheeky action scenes like no one else. There’s one totally unnecessary Millar perversion in this issue, which must have seemed very funny at the time, but plays as just plain crass; though that shouldn’t stop you from picking this up. What might stop you is the back half of the issue, which is just a bunch of covers from the series, that, presumably, you already purchased. At $5 for an (albeit, over-sized) story, to throw in 20 pages of bonus material that will most likely appear in the upcoming trade collection is just a wee bit unfortunate.

David weighs in on the DVD:

While Ernie checks out the Blu-ray:

FEATURE: B+
The Incredible Hulk occupies a strange place in the hierarchy of comics-related movies released this year. There are a ton of comics films that have come out, and are coming out, but Hulk came out sandwiched between the biggest of the big name comics movies– Iron Man and The Dark Knight. To call those two films “juggernauts” would be underselling both of them. The Incredible Hulk was immediately put into the unenviable position of coming out between two of the biggest films of the year.

For my money, The Incredible Hulk held its own very well. It avoided the risks of getting too far from the Jekyll & Hyde foundation of the Hulk and told a very straightforward movie with plenty of depth for those who care to pay attention and look for it.

Edward Norton’s Bruce Banner is as perfect a portrayal of the character as you’re likely to see. He hits many of the high notes from the comics, such as the intense level of self-control Banner must maintain, or the wish to get rid of the Hulk by any means necessary, and even brings a few more traits to light. His self-control extends past his emotions and into everything that could possible spread his problem. When he bleeds, he isolates and purifies the blood. Norton brings a lot to the character of Banner, and delivers a great performance because of it. The quirks, mannerisms, and even vocal inflection sells the character.

Norton’s other half, rather than the Hulk, is Tim Roth’s Emil Blonsky. While he’s been changed up from his comics incarnation, the change is largely for the better. Blonsky is calm, self-assured, but still in search of glory. If I had to put a word to him, I’d say that he’s hungry. He wants to be better, bigger, faster, and stronger, to borrow a cliche, and he eventually downs the Super Soldier Serum to get it done.

The most interesting part of the movie, at least the most interesting part that didn’t involve the Hulk, was the dichotomy between Banner and Blonsky. Banner is quite literally on the run from the monster inside him. He has let the monster dictate the course of his life, and has spent his time running from the monster itself. Blonsky, on the other hand, embraces his inner monster to the point of being the monster himself. Everything he does, he does in pursuit of power. I would have liked to have seen more interaction between them, but that’s a minor quibble.

Of course, what is a movie about the Hulk without smashing? The Incredible Hulk delivers on that point, as well. Seeing the Hulk in action is a huge thrill, thanks in no small part to the lifelike animation provided by Rhythm & Hues. Hulk’s muscles stretch beneath his skin, rainwater pools and runs realistically, and an angry Hulk is one to behold.

PRESENTATION: B
The edition I reviewed came with three DVDs in total- one for the feature, including commentary, a bonus features disc, and a third disc with a digital copy of the movie. The third disc is in a white envelope tucked into the inside, while the other two discs are in your standard two-disc DVD configuration.

The menus for the DVDs are simple, but attractive. There is a loop of a vaguely hexagonal DNA matrix, with points on the matrix serving as menu items. Selecting a point pops up a new menu. It’s pretty much exactly what I look for in DVD menus. They are simple, but attractive, and there is not a long animation involved when selecting an option. Getting into the movie or adjusting options is quick and easy.

I’m a big fan of the new trend of including digital copies of movies with the DVD release. iPods or other portable media devices are a huge market, and making it easy on users to view movies on the go can only lead to good things.

EXTRAS: A
There is a lot to like on this DVD, not the least of which is the fact that there are a ton of extras. There are featurettes on how the Hulk was animated, characters were cast, and comic book connections. It is a very thorough offering, and one I’m glad to see happen on DVD as well as on Blu-Ray, rather than just on the Blu-Ray disc.

The evolution of the Hulk in particular was an interesting feature, as we get to see how they modeled the Hulk, what designs were almost used, and a good look at the power of the software and hardware Rhythm & Hues used. Could we have had a gray Hulk? Definitely.

The commentary is between director Louis Leterrier and Tim Roth. Edward Norton is noticeably missing, but the commentary doesn’t suffer for his absence. Leterrier and Roth talk like old friends, and there are a lot of jokes and laughter. If you watch commentary for technical details, there are plenty of those, but the majority of the commentary is of the fun variety. Special mentions are given to guest actors, notable scenes, or fun memories from the shoot. I like hearing technical details about how certain shots were pulled off, or previously unknown homages, but hearing the crew having fun with the commentary is just as good in my book.

OVERALL: B+

I found The Incredible Hulk to be almost just what I wanted out of a film about the Hulk. The proportion of smashing to acting is very reasonable, the visual effects are as great as anything else, and it doesn’t outstay its welcome. It’s a fine addition to any collection, and the DVD’s extras and commentary make for worthwhile repeated viewings.

Feature: B

When I say “Hulk!” you say, “Smash!” Ready?

“Hulk!”
“Smash!”
“Hulk!”
“Smash!”

It should have been that easy to come up with a Hulk movie that satisfied fanboys and average movie goers alike. But Ang Lee, bless his indy heart, over-worked the concept into a muddy green mess that was too complex where it didn’t need to be and and conveniently simple where it didn’t need to be. Rest in peace Absorbing Man. Give Marvel Studios credit though for hanging in there, forging ahead despite the apathetic reaction to a reboot, and made another Hulk film. Lee’s origin spin wasn’t forgotten completely nor does it hold this newer film hostage. It was back to basics.

Three big reasons this film works. 1) Bruce Banner/Hulk (Edward Norton) is given a threatening opponent in Emil Blonsky/Abomination (Tim Roth), a formidable foe who outclasses Banner in physical ability and strength and works in Marvel Studio continuity of the super soldier serum. 2) Banner is back on the run. That’s the hook from Hulk/Banner story that the average person identified with. With the advent of cellphones, GPS, and the internet though it’s a lot harder to stay off the grid these days. The story’s taken out of the United States and into the favelas of Brazil. Banner’s only outside contact is Mister Blue, a mysterious friend helping Banner try to cure himself of the monster within. This plot is best remembered in the novelist, Bruce Jones’ stint on the comic several years ago. And finally 3) We get to see the Hulk obliterate some shit! Battle scenes were explosive, inventive, and pulled out all the tricks from Hulk’s hat. The pummeling earthquake punch, the hurricane hand-swat, using vehicles as boxing gloves and the wreckage of mass destruction left behind in his trail made for an over-the-top action pleaser.

For balance, the focus shifts on Banner’s coping mechanisms, managing his anger and emotions through meditation, self-defense, and preparing himself and others for when he does lose control. Obsessed with canning that raw power as a military weapon, General Ross (William Hurt) employs Emil Bronsky (Roth)–a soldier full of rotten teeth and an unmatched hunger for the manhunt–to bring him Banner, even if that destroys his relationship with his daughter, Betty (Liv Tyler). The architect of this drama amongst all the rampage is director Louis Leterrier who deserves to be applauded for not only having a clear vision of what a Hulk film should be, but managing his star actor who wanted to be very involved in this film.

Norton brought that special something movie viewers needed for Hulk to work whether they know it or not, the duality of a tormented soul. Affixed permanently in cult favorites such as Fight Club and American History X where his roles evolved, Norton earned his stripes for being able to pull off the transformation of a Bruce Banner, a gamma ray scientist to a monster. From the introduction you’re instantly sold on his feeble face and as he devolves down his tragic path, we believe that this is his destined path. He’s marvelous at it and it’s something Eric Bana didn’t have. For that reason alone, he was the right choice. Norton leaves the screen with a chilling grin, telling the audience he has controlled the monster within, but is he a friend or is he a foe, and more importantly will he reprise the role?

Based on the it’s less-than-expected returns at the box office, Hulk should make it back to the big screen at the very least for the Avengers film in 2011, but only Roth and Leterrier are contracted. Marvel Studios producer, Kevin Feige confirmed at Comic-Con this past summer that Hulk will return to the big screen but I implore whatever needs to be done, make it so to ensure the character stays on its corrected path. A monster return indeed.

PRESENTATION: B

The first thing noticeable on the packaging is the plastic housing is neon green, not the trademark blue. The front of the slipcase is a lenticular three-dimensional cover that “moves” when you move it side-to-side. A 30 second loop of music and clips repeats while you thumb through the menu bar on the left-hand side. Billed as a two-disc blu-ray, everything actually fits on one disc. The other is the digital copy disc (which is the new vogue extra) for folks who want to download the film onto their computer or portable media player. The digital copy is compatible with both PC and MAC computers and sits in the booklet holder with an instructional sheet. I’ve yet to have use for the digital copy discs but won’t dock the disc for anyone who does find use for them. There are 20 chapters in all although the scene selection on Universal’s blu-rays are a bit more complex with the U-Control grid included. It’s very dark and sometimes hard to see clearly. There are no clever load up screens or custom time bars. White subtitles are accessible in English, French and Spanish.

AUDIO: A+

I’ve always found DTS sound to deliver a heavier punch than Dolby Digital and that benefits certain movies–especially ones that require a lot of oomph. This DTS-HD soundtrack does not disappoint. The weight of characters’ movements are captured accurately as both Hulk and the Abomination will romp and stomp into your family room. Subwoofers will get a workout in the fights on the college campus, the bottle factory, and the climactic ending. Sound swoops from all directions at the lively parts and your floorboards should rumble throughout the the film; but the most impressive thing felt is the weight of the sound. To describe it to a flawless True-HD track would be like describing the difference between a graceful windmill dunk by Michael Jordan to a powerful and thunderous rim-shattering dunk by Shaquille O’Neal. Both will get you out of your seat but only one has that run-for-shelter effect. Also included are Spanish and French DTS: 5.1 tracks as well as an English Dolby Digital 2.0 Stereo track. You can also control the picture-in-picture volume and the button sounds.

VIDEO: A-

The film was shot in 1080p high-definition 2.35:1, AVC encoded and everything is rock solid. The night grotto scene reproduces nicely, as well as gritty textured bottle factor and favelas. The computer-generated scenes are much improved over the last film, and have more high speed camera work, but everything looked very clear. Through no fault of the transfer, there are scenes where you’re taken out briefly because you can easily tell it’s CG work, other times it all blends together. The nature of HD can work against the film sometimes because you’re taken out of the moment ever so slightly. I found this especially distracting with Spider-Man 3, but think it’s been improved greatly with The Incredible Hulk. Pay close attention to all the detail on the skin of the close-ups of Hulk and Abomination. Rhythm & Hues raised it to the look of these characters to higher level and that work shines in high def.

EXTRAS: B+

Universal put a nice package of substantial extras that’s light on the marketing fluff while places you in the director’s chair. Letterier, Norton and Roth participate extensively in the featurettes by way of interviews and behind-the-scene footage. Some other important contributors seen throughout the extras are Kevin Feige (Marvel Studios Producer) Kurt Williams (Visual Effects Supervisor), Laird McMurray (Special Effects Coordinator) and Kirk M. Petruccelli (Production Designer) who along with their respected crews can be proud of the assembly of supplemental material. All of the featurettes except the alternate opening are in DD 2.0 Stereo, anamorphic widescreen, 1080i/p high definition.

A lot has been made about the arctic ALTERNATE OPENING (2:34) (shown in widescreen and 5.1 DTS-HD) because of what’s hidden in its landscape. As Marvel Studios continues to roll these films out, the universe begins to flesh out towards an imminent Avengers film and to avoid spoiling anything or for those not internet savvy, just look in the snow at the bottom left as the scene ends. It’s best to go frame by frame, then rewind it and watch it from the beginning and see why the current introduction works better. Like this scene are 23 more DELETED SCENES (42:45) that are longer takes of Bruce in the favelas, Emil Bronsky with his superiors, the pizza delivery angle, and more of the Leonard, Betty and Bruce triangle. It’s a big slug to take all at once but you can always break it up individually. The MAKING OF THE INCREDIBLE HULK (29:54) has the most promotional fluff but touches on all of the success points of the film like courting Edward Norton, scheduling and logistics, the effects, the favelas, working with the military and giving Yonge Street in downtown Toronto a Harlem facelift. In both BECOMING THE HULK (9:22) and BECOMING THE ABOMINATION (10:14), the digital effects team, Rhythm and Hues explains how they got Norton and Roth to resemble their digital counterparts. Lots of motion-capture work is shown and especially their faces with a different technique than I’ve seen using a bright neon face paint as they act out different emotions. It’s noticeable throughout the film in close-ups that even though these guys are not physically on the screen, they are a part of these creatures. ANATOMY OF A HULK OUT breaks down the stuntwork and practical effects behind the three most complex shots: The Bottling Factory battle, On Campus and In Harlem. This will appeal greatly to people who can’t get enough of the filmmaking process and probably my favorite of all the extras.

Comic book fans will enjoy FROM COMIC BOOK TO SCREEN (6:33) where an exceprt from Jeph Loeb and Tim Sale’s Hulk: Gray graphic novel was used to inspire the grotto scene. I had hoped they would have done the same for the Mr. Blue sequences and Dale Keown art. In an ideal world, these types of extras would inspire someone to pick up the better runs of the comics. Louis Leterrier and Tim Roth team up on the AUDIO COMMENTARY. Both men have accents, not heavy but could be enough for those who don’t have ears for European accents to turn up the volume. They keep on topic, their conversations constant, quick and casual adding insider notes on specific scenes and anecdotes and much laghter throughout. Leterrier proves himself to be a hands-on director and one willing to really open his process to the fans.

The blu-ray exclusives start with Universal’s patent U-CONTROL experience used best on the subsequent multiple viewings of the film. At different moments of the film, the user can see SCENE EXPLORER where screens pop-up with four quadrants that can be expanded to fill the screen displaying the storyboards, the animatics, and multiple angles documenting the shooting. THUNDERBOLT FILES detail General Ross’ factoids full of intel tracking Banner, mission overviews and active personnel. PICTURE-IN-PICTURE pops up to show some behind the camera footage of that particular scene. The COMIC BOOK GALLERY is supposed to show iconic images that complete scenes were designed around. It is a waste though as only four images pop up when there should be a lot more. Longtime Hulk readers will recognize the Hulk’s appearance resembles Keown’s artwork from the 1990’s era so there was potential for this to be an extensive interactive experience but fell well-short of my expectations. The BD Live features include cutting up the film and sending those clips to your friends and a live chat while you’re both watching the film.

One thing noticeably missing are the theatrical and teaser trailers. It’s not asking too much to have these standard in every blu-ray release, is it?

HULK LIKE THIS BLU-RAY! Overall: B+

If you come in with reasonable expectations, The Incredible Hulk provides what we had all hoped would have been the first attempt at a Hulk film. Try, try again as they say and everything comes off better in this mulligan: the computer generated Hulk, Banner, General Ross, and the idea that this guy is walking amongst us or in isolation plays on the imagination much-much better. On blu-ray, the jealous green giant gets a technical spa treatment with booming sound and sterling video treatment.

And there you have it. My question is: Is this awesome? Is this a great nod to the fanboys?

At first I thought Marvel’s strategy of linking all of their films together and creating a movie version of comic book continuity was a bold and risky move. Would Marvel really risk alienating mainstream audiences by creating a tight little Marvel world. But I think this blurry image points to how it will be done across the board: they fanboy nods will be slight and subtle, the non-comic reader won’t even register the difference.

But that strategy leaves me hoping for more. How cool would it be to have the Hulk confront a man frozen in ice in Antarctica: Doesn’t that idea speak to Bruce Banner’s imprisonment inside the body of the Hulk? The connections are there and if Marvel can make them in the right way then the movie continuity could be a great boon, a thread that binds them all together and makes them stronger rather than a much talked about, blurry, throw-away image.