WHAT 50/50 MEANS TO HULK

MOVIES ARE PERSONAL.

WE CAN DRESS IT UP ALL WE WANT. WE CAN TALK ABOUT FILM’S OBJECTIVE QUALITIES: THE DIFFICULTY OF EXECUTION.  MISE EN SCENE. BALANCE OF TONE. HEROIC PERFORMANCES. STORY STRUCTURE. LEVEL OF ASS-KICKERY. PICK YOUR TOPIC. THEY’RE ALL MORE THAN VALID, AS ENTIRE BOOKS ARE WRITTEN ABOUT THESE SUBJECTS. THEY CONSTITUTE WHOLE, FASCINATING WORLDS UNTO THEMSELVES. MORE IMPORTANTLY, IT’S THE CRITIC’S JOB TO CONVEY HOW THESE QUALITIES MAKE SENSE AND HOW THEY DO/DO NOT WORK IN A GIVEN MOVIE. AND HULK TAKES THAT JOB VERY SERIOUSLY.

BUT EVEN WITH THESE OBJECTIVE QUALITIES, MOVIES ARE STILL INEXORABLY ATTACHED TO OUR HEARTS AND MINDS. FOR ONE, THEY ARE FULLY DEPENDENT ON OUR OWN DEFINITION OF “OBJECTIVE.” BUT EVEN MORE, THEY ARE DEPENDENT ON OUR EXPERIENCES, FEELINGS, AND EMOTIONS. WE CAN STRETCH OUR NETS OF CINEMATIC INTEREST AS WIDE AS ONE CAN GO AND ARE CERTAINLY BETTER FOR IT. IT ENABLES US TO EXPRESS, CONVEY, SHARE, AND EDUCATE REGARDLESS OF WHO WE ARE. BUT THERE ARE THOUSANDS OF OBJECTIVELY GOOD MOVIES AND TO DECIDE WHAT IS TRULY SPECIAL, IT ULTIMATELY BECOMES A QUESTION NOT JUST OF WHAT ATTACHES, BUT TRULY RESONATES DOWN INTO OUR BONES.

IN THE END, MOVIES ARE PERSONAL.

AND 50/50 IS VERY, VERY PERSONAL TO HULK.

CANCER IS ONE OF THOSE THINGS THAT HAS SEEMINGLY TOUCHED EVERYONE. YOU’VE PROBABLY HAD SOME LEVEL OF PROXIMITY TO IT. IF YOU HAVEN’T? WELL, HULK’S NOT RELIGIOUS OR ANYTHING BUT COUNT YOUR DARN BLESSINGS. THAT’S BECAUSE SOME OF US HAVE GOTTEN THE FRONT-ROW SEAT. SOME OF US HAVE EVEN HAD IT… AND SOME OF US HAVE HAD IT ALONG WITH MOST EVERYONE ELSE IN OUR FAMILIES (HOW TO PUT THIS? GAMMA RADIATION IS A BITCH).

YOU’VE ALL PROBABLY HEARD THIS IN SOME WAY OR ANOTHER, BUT IN CASE IT’S NOT CLEAR: CANCER DOES NOT CARE ABOUT YOUR BELIEFS, OR HEALTH, OR AGE, OR WHAT’S FAIR. FOR ALL HULK KNOWS, IT COULD BE SOME SORT OF KARMIC AGENT THAT THE UNIVERSE HAS DEVISED TO PREVENT HUMANS FROM OVERTAKING THE EARTH MORE THAN THEY ALREADY HAVE. NOW, THIS KIND OF THINKING IS OBVIOUSLY CYNICAL NONSENSE, BUT IT CERTAINLY CAN FEEL TRUE.

THAT’S BECAUSE CANCER TEARS PEOPLE AWAY. THAT’S WHAT IT DOES. AND HULK DOESN’T KNOW ABOUT YOU, BUT HULK IS FOND OF PUNY HUMANS QUITE A BIT. NO ONE WANTS TO HAVE THEM TORN AWAY, PIECE BY PIECE INTO NOTHINGNESS.

PEOPLE USUALLY DIE IN MOVIES BECAUSE THEY DO BAD THINGS. BECAUSE THEY DESERVE IT. AND IF THEY DIDN’T DESERVE IT, WE USUALLY SPEND COPIOUS AMOUNTS WITH THE PARTY RESPONSIBLE AND LEARN ABOUT GUILT OR SOMETHING. OR WE SPEND ALSO COPIOUS AMOUNTS OF TIME WITH THE ONES WHO ARE BEING TAUGHT / HAVE TO LEARN TO “LET GO” OF SOMEONE WHO DIES. HECK, EVEN FATAL ACCIDENTS IN MOVIES SORT OF WORK THE SAME WAY. PEOPLE DIE BUT THE SEARCH GOES ON FOR SOME SORT OF MEANING. THESE MOVIES, AND THE PEOPLE WHO WRITE THEM, TRY TO TEACH US THESE THINGS.

DISEASE MAKES THIS A LITTLE MORE PROBLEMATIC. GENETIC RANDOMNESS DOESN’T REALLY ASCRIBE ITSELF TO ANY SORT OF MEANING, OTHER THAN EXISTENTIALISM HULK GUESS. BECAUSE WHEN IT’S YOUR LIFE ON THE LINE THE PESKY LITTLE MATTER OF HOW OTHER PEOPLE WILL GO ON AFTER YOU IS A NEAT AND IDEAL THOUGHT, BUT IT’S NOT NECESSARILY A REAL OR COHERENT THOUGHT (ESPECIALLY WHEN YOU’RE YOUNGER). YET, WE SEE CANCER MOVIES ADDRESS THESE KINDS OF THINGS CONSTANTLY, EITHER WITH SOME WISTFUL NONSENSE OR SACCHARINE WHIMSY. WE’VE SEEN MOVIE AFTER MOVIE OF WELL-ADJUSTED CANCER CHILDREN TEACHING THEIR PARENTS AND FAMILY HOW TO “LET GO.” HECK, EVEN JAMES L. BROOKS A CERTIFIED WRITING GENIUS WHO KNOWS HOW TO ALTERNATE CUT THROAT/SUBLIME SAP AT A MOMENTS NOTICE, IS BASICALLY ENGAGING IN THOSE KIND OF IDEAS JUST IN A MUCH MORE ENTERTAINING WAY. MORE OFTEN THAN NOT THESE FILMS ARE WRITTEN ABOUT OUR ABILITY TO PROCESS WHAT “CAN” HAPPEN TO “SOMEONE ELSE.”

IT’S AN UNDERSTANDABLE INCLINATION IN ALL HONESTY, BUT HULK NOT SURE THAT’S NOT REALLY WHAT DISEASE IS ACTUALLY ABOUT. PLEASE NOTE THAT THE FOLLOWING PARAGRAPH IS VERY DIFFICULT TO EXPRESS CLEARLY AND HULK DID HULK’S BEST:

HULK DOESN’T THINK CANCER STORIES SHOULD BE MADE “FOR OTHER PEOPLE.” IT SEEMS LIKE MUCH MORE CAN BE DONE IN TERMS OF UNDERSTANDING BY TRANSLATING THE EXPERIENCE OF THE PERSON WHO ACTUALLY HAS THE DISEASE, RATHER THAN MAKE SOMETHING THAT IS DESIGNED TO MAKE THE EXPERIENCE “OKAY” FOR THE REST OF US. BECAUSE FOR THE INDIVIDUAL, CANCER/DISEASE IS ABOUT THE SIMPLE AND HEARTBREAKING REALITY OF HOW ORDINARY IT ALL IS. WHEN YOU’RE YOUNGER, DISEASE ACTUALLY FORCES YOU TO STOP SEEING THE WORLD IN THESE GRAND TERMS OF “LEGACY” AND “MEANING.” WHY? BECAUSE THOSE THINGS ARE ABOUT THE PRESERVATION OF THE FUTURE SELF IN SOME WAY AND THAT’S NOT WHAT YOU’RE ACTUALLY FACING. NO, HULK ARGUES CANCER JUST FORCES YOU TO LOOK AT THE REGULAR LIFE AROUND YOU IN NON-GRAND TERMS. DISEASE DOES NOT PROVIDE SOME CRYSTALLINE, OMNISCIENT FOCUS. IT DOESN’T GIVE YOU THE SUPER POWER TO REALIZE WHAT LIFE IS REALLY ABOUT. YOU DON’T EVEN “CHERISH THE MOMENT” REALLY. YOU’RE TOLD THIS HAPPENS, BUT THIS IS NOT WHAT HAPPENS. WHAT DISEASE DOES IS THAT ACTUALLY CLARIFIES THE HEARTBREAKING REALITY OF THE ORDINARY PRESENT. MEANING, THERE IS NOTHING ALL THAT SPECIAL ABOUT IT. THERE IS JUST YOU, YOUR FAMILY, YOUR FRIENDS AND WHATEVER THEY ACTUALLY ARE (SELFISH, LOVING, SMOTHERING, ETC), AND THEY ARE ALL NOW DEALING WITH FACT YOU ARE SICK.

HULK HOPES THIS MAKES SENSE. DISEASE DOES NOT GET YOU TO SEE “LIFE” BUT REALLY THE JUST ORDINARY NATURE OF “YOUR LIFE.” AND THAT’S WHY EVERYONE AROUND YOU FREAKS OUT SO BADLY, BECAUSE IT MAKES THEM SEE HOW IT’S ALL JUST SO IMPOSSIBLY REGULAR: CANCER/DISEASE IS SOMETHING HORRIBLE YOU HAVE TO LIVE WITH UNTIL YOU POSSIBLY DIE FROM IT… AND THAT’S IT.

50/50 IS THE FIRST MOVIE HULK’S EVER SEEN THAT UNDERSTANDS AND CONVEYS THAT.

AND THAT IS WHY THE FILM IS TRANSCENDENT.

WHAT’S SORT OF WEIRD IS THAT HULK WAS GOING INTO IT NOT WITH ANY SORT OF GRAND EXPECTATION, GIVEN THE NATURE OF ANY PERSONAL ATTACHMENTS. HULK WASN’T REALLY ANTICIPATING TO CONNECT LIKE THAT AT ALL. HECK, HULK ALMOST DECIDED TO SPEND THE NIGHT IN.  HULK JUST THOUGHT IT WOULD BE A FUNNY FILM THAT TRIED TO STAY AWAY FROM SAPPY, TRITE STUFF WE HAVE SEEN BEFORE. ONE THAT TRIED TO DISPLACE THAT STUFF WITH COMEDY. HULK EVEN KNEW FROM PAST MOVIES THAT DIRECTOR JONATHAN LEVINE WOULD BE ABLE TO CREATE SOMETHING THAT FELT LIVED IN AND IMMEDIATE. AND FOR MOST PEOPLE THAT MAY BE ALL 50/50 ACTUALLY IS… WHICH AGAIN, IS FINE.

BUT FOR HULK IT WAS SOMETHING MORE. HULK MELTED INTO THE MOVIE AND EXPERIENCED IT WHOLLY AS IF IT WAS HAPPENING RIGHT THEN AND THERE, AS IF HULK WAS DIRECTLY INVOLVED. FOR MOST CRITICS THIS HAPPENS ALL TOO RARELY. SO OFTEN THEY WATCH A MOVIE TO PROCESS HOW IT IS “WORKING” WITHOUT REALLY EXPERIENCING. THOUGH IT SHOULD NOT THAT MOST GOOD CRITICS ARE ACTUALLY PROCESSING THE EXPERIENCE AND THUS EFFECTIVELY DOING BOTH AT ONCE, BUT SOMETIMES IT’S DICEY. AND CRITICS OFTEN FORGET THAT MOST PEOPLE JUST EXPERIENCE MOVIES IN SOME SORT OF CHILDLIKE STATE OF TRANSIENCE. IT’S THE REASON A LOT OF PEOPLE CAN’T EXPLAIN MOVIES, TAKE THEM SO PERSONALLY, AND ARE SO DAMN SUSCEPTIBLE TO TONE CHANGES (AND MAYBE ARE EVEN BETTER FOR IT).YES  FOR THE AVERAGE MOVIE-GOER, FILMS ARE HYPER-PERSONAL BECAUSE THEY ARE an EXPERIENCE. SO WHEN A CRITIC CAN ENJOY A MOVIE THIS WAY? IT IS A GIFT.

STILL, “OBJECTIVELY” SPEAKING HULK THOUGHT 50/50 WAS FANTASTIC. THE PERFORMANCES ARE ALL STANDOUTS AND THERE ARE MANY REASONS WHY (MOSTLY BECAUSE THEY KEEP THINGS GROUNDED). BUT HULK WOULD BE REMISS NOT TO MENTION JOSEPH GORDON LEVITT’S ABILITY TO PLAY HIS QUIET TROUBLES OFF OF EVERYONE ELSE’S LEVELS OF RELATIVE SADNESS AND HYSTERIA. IT FEEDS DIRECTLY INTO THE VERY THING THAT ENABLES THE FILM TO SUCCEED: THE TONE.

LEVINE DEFTLY WEAVES SCENES TOGETHER TURNING A FILM THAT ALTERNATES BETWEEN COMEDY AND SOMBERNESS INTO A SINGULAR, COHERENT REALITY. YOU LIKELY HAVE NO IDEA HOW DIFFICULT IT IS TO PULL THAT OFF, BUT LEVINE DOES SO ADMIRABLY. ONE OF THE KEYS TO THAT IS TAHT THE FILM IS GENUINELY FUNNY WITHOUT FEELING LIKE IT IS STRIVING TO DO SO. IT IS WHOLLY COMFORTABLE GOING WHOLE SCENES WITHOUT ANY JOKING WHATSOEVER AND THIS ALLOWS THE FILM TO PUNCTUATE ITS MOMENTS. IT CHOOSES REALITY AS A MORE IMPORTANT GOAL THAN THE JOKE, GIVING THE TONE FLEXIBILITY. THE SUM TOTAL OF THESE DECISIONS IS THAT IT MEANS LEVINE MADE ONE OF THOSE RARE MOVIES WHERE EVERYTHING SIMPLY “IS.”

BUT THAT ACHIEVEMENT ALL STARTS WITH WILL REISER’S SCRIPT, WHICH FLOWS BEAUTIFULLY, SHIFTING FROM EXPERIENCE TO EXPERIENCE WITH A QUIET, PROPULSIVE FOCUS. WHAT DOES THAT MEAN EXACTLY? IT MEANS SCENES ARE WRITTEN TO BUILD THE RELATIONSHIPS, BUT NO SINGULAR SCENE IS TRYING TO DESPERATELY DRIVE HOME A SINGULAR POINT, JUST TO CONVEY THE PERSPECTIVE. AND THAT IS BECAUSE THE PERSPECTIVE IS THE POINT. THE FACT THAT THIS IS REISER’S PERSONAL STORY IS WELL-PUBLICIZED, BUT HULK WANTS TO REMIND YOU JUST BECAUSE IT “HAPPENED” DOESN’T MEAN SHIT WHEN IT COMES TO WRITING. IT’S ABOUT THE ABILITY TO MAKE IT RESONATE. AND REISER SHOWCASES HIS ABILITY TO WRITE THROUGH THE SHEER DETERMINATION TO EXPRESS THE INNATE REALITY OF DISEASE, NOT BY TRYING TO OVERTLY TURN IT INTO “A MOVIE.” THIS IS NOT SAY THE FILM IS SOME EXERCISE IN VERITE, NOTHING OF THE SORT. BUT LIKE THE WAY LEVINE BALANCES THE TONE, REISER BALANCES THE GOAL OF INNATE REALITY WITH THE DESIRE TO ENTERTAIN AND MOVIE-FY THE EXPERIENCE.

BUT AGAIN, THIS WAS HOW IT AFFECTED HULK.

SOME OF YOU MAY HAVE SOMETHING TO SAY ABOUT THIS CHOICE OR THAT CHOICE, OR THIS PERSON OR THAT PERSON AND THAT’S FINE. HONESTLY, HULK DOESN’T REALLY CARE. FOR EXAMPLE, THERE’S BEEN A LOT OF TALK OF THE TERRIBLE TITLE, ONE DOWNGRADED FROM THE ADMITTEDLY FAR-MORE-EFFECTIVE “I’M WITH CANCER.” SAY WHAT YOU WILL, BUT THE TITLE 50/50 IS STILL SOMETHING THAT AT LEAST MEANS SOMETHING TO HULK. FOR ONE, IT SPEAKS TO IMPLICIT NATURE OF THE RESULTS: YOU EITHER DIE, OR YOU DON’T. TECHNICALLY SPEAKING, THOSE ARE EVERYONE’S CANCER ODDS. AND EITHER WAY YOU HAVE TO GO ON LIVING WITH THAT REALITY. GOING EVEN FURTHER WITH THE TITLE, OF ALL THE IMPORTANT PEOPLE WHO HAD CANCER IN HULK’S LIFE. HALF DIED. THE OTHER HALF SURVIVED. SIMPLE MATH. AGAIN, A RANDOM PROCESS WITH TWO POSSIBLE RESULTS. THAT’S WHAT THE MOVIE MEANS. SO THAT’S WHAT THE TITLE CAN MEAN TOO.

OBJECTIVELY SPEAKING 50/50 IS A MOVIE WORTH SEEING. IT IS A WELL-MADE, FUNNY, EMOTIONAL WITHOUT NECESSARILY BEING SAD, AND CHANCES ARE YOU WILL ENJOY IT.

UN-OBJECTIVELY SPEAKING, THIS WAS A MOVIE HULK NEEDED IN HULK’S LIFE.

AND THAT’S OKAY.

MOVIES ARE PERSONAL.

HULK’S TOP 13 FILMS OF 2010 (UPDATED TO 15)

HULK ON TWITTER:

FIRST OFF!

THESE LISTS PERSONAL. IT HARD SAY ONE MOVIE BETTER THAN ANOTHER, ESPECIALLY WHEN BOTH MOVIE ARE GOOD AND BOTH HAVE DIFFERENT AIMS. THAT BE SAID, HULK TEND TO REWARD FILMS THAT TRANSCEND RATHER THAN EXECUTE THE STANDARD… EXCEPT WHEN HULK… DOESN’T… IT DEPEND.

SECOND OFF!!

HULK STILL HAVE SEE MORE MOVIES. AT TOP LIST: BLUE VALENTINE,  ENTER THE VOID, MONSTERS, MCGRUBER, RABBIT HOLE, THE FIGHTER, CYRUS, THE KIDS ARE ALL RIGHT, 127 HOURS, THE GHOST WRITER, EXIT THROUGH GIFT SHOP, AND OTHERS… WOW.. THAT LOT… SORRY, BUT HULK GOTTA PAY FOR THIS SHIT UNLIKE LOTS OTHER CRITICS. SO THIS LIST CHANGE

THIRD OFF!!!

HULK PICK 13 MOVIES CAUSE HULK ALWAYS DRAW LINE OF MOVIES IN “TOP TIER” FOR YEAR. IT CAN BE ANY NUMBER. THESE FILMS FEEL LIKE IN CLASS OF OWN.

(NOTE: NOW UPDATED TO 15 AS HULK JUST SEE TWO NEW MOVIE)

FILM CRIT HULK’S TOP 15 FILMS OF 2010:

WARNING: ACTUAL ACTORS

15. THE KING’S SPEECH (ADDED IN UPDATE)

THE KING SPEECH SEEM LIKE KIND OF OSCAR BAIT MOVIE POISED TO CHARM OLD PEOPLE, AND THEN BORE YOUNGER FOLK WITH DISCERNING TASTE. TRAILER NOT REALLY HELP DISSUADE THAT WITH ALTERNATING WACKINESS FOLLOW BY SWELLING GRAVITAS.  BUT THE KING SPEECH ACTUALLY FANTASTIC. IT ASSURED. EVEN-KEELED. WELL OBSERVED. ALL WACKINESS PERFECTLY IN CONTEXT. FIRTH GIVE ONE OF BEST PERFORMANCES OF CAREER (AND HULK NO CAN WAIT FOR HIM TEAM UP WITH COEN BROS). BETTER YET, IT ACTUALLY CHARACTERIZE BOTH CONTEXTUAL IMPORTANCE OF MONARCHY AND SPECIFIC TIME IN HISTORY. IN SHORT, THE KING SPEECH RATHER GOOD.

JAMES FRANCO. HE'S SO HOT RIGHT NOW

14. HOWL

IT NOT REALLY A MOVIE. IT REALLY JUST READINGS OF HOWL SET AGAINST ANIMATION AND JAMES FRANCO DOING INTERVIEW/IMPRESSION AS/OF ALLEN GINSBERG. AND IT GREAT. AFTER ALL, THAT ALL IT REALLY REALLY NEED.

THIS WILL MAKE SENSE... SORT OF

13. I’M HERE

THIS FILM SHOULD COUNT EVEN LESS, CAUSE IT ACTUALLY A SHORT. BUT 30 MIN LONG ENOUGH FOR HULK CONSIDERATION ON THIS LIST. SPIKE JONZE CONTINUE TO AMAZE HULK. HULK HAVE GO BACK TO THE KANYE SHORT WHICH SHOWCASE SPIKE’S ABILITY BUILD UP MONOTONY/SEEMINGLY RANDOM EVENTS ONLY HAVE IT CREST INTO POETIC, POIGNANT MOMENTS. KANYE’S SUDDEN, FINAL EMOTIONAL STANDOFF WITH HIS INNER “WILD THING” SHOWCASE JONZE CAPABLE OF  SUCH MOMENTS OF UNEXPECTED, SHOCKING HEARTBREAK. AND HE DO SO FROM CONCOCTING THE STRANGEST IMAGES… SO WHEN COMES TO “I’M HERE” WE GET THE SAME IDEA. MORE GLORIOUS STRANGE POETICISM FROM SPIKE JONZE: CHECK OUT ENTIRE FILM HERE ONLINE: http://www.imheremovie.com/

WHY ALL CHILDREN NOT HAVE SCOTTISH ACCENTS TOO?

12. HOW TO TRAIN YOUR DRAGON

GOOD FOR DREAMWORKS. READER MAY NOTICE HULK PUT THIS ABOVE TOY STORY 3. SOME SAY THIS BLASPHEMY. THAT FINE. PROBLEM WITH TOY STORY 3 FOR HULK IS IT FEEL LIKE NOTHING MORE THAN REHASH OF AMAZING EMILY SEQUENCE OF TOY STORY 2… ONLY DRAWN OUT TO 2 HOURS. DON’T GET HULK WRONG. HULK ENJOY TOY STORY 3 VERY MUCH. AND HULK APPRECIATE EXISTENTIAL CHUTZPUH OF 3RD ACT AND ALL, BUT PIXAR WAS GOING EXCEPTION  AND ORIGINAL DIRECTION BEFORE TOY STORY 3 (WITH WALL-E + UP)… SO WHY GO BACK AND RETREAD? IN END IT JUST FEEL LIKE NAKED CASH GRAB EVEN IF THAT NOT PIXAR M.O. (THO WHEN LOOK UP BOX OFFICE, RATATOUILLE AND RECENT ALL NOT DO AS WELL AS TOY STORY’S + NEMO, ETC… SO PERHAPS NOT UNFOUNDED) … MEANWHILE, DREAMWORKS FINALLY MAKE ACTUAL MOVIE WITH HOW TRAIN DRAGON. THE STORY DONE RATHER WELL AND SOMEHOW IT ORIGINAL FEELING FILM. HULK KNOW, HULK KNOW! IT TAKE TONS FROM OTHER MOVIE BUT THE AMALGAMATION TOTALLY SUCCESSFUL. ANYCRAP, HULK LIKE IT BETTER. SO THERE.

"NO. YOU DON'T JUST DROP THE R'S. SHORTEN THE VOWELS TOO OR ELSE YOU'LL SOUND LIKE A NEW YORKAH"

11. THE TOWN

SO FILMCRITHULK MAY OR MAY NO BE FROM AREA OF THIS MOVIE ORIGINALLY. SO SURE, THERE ONE PART OF HULK THAT APPRECIATE ABILITY OF TOWN TO “GET THINGS RIGHT” SO TO SAY… YET THERE OTHER PART OF HULK THAT WORRY ABOUT ROMANTICIZING OF  BOSTON MEAT-HEAD TOWNIE GANGSTERISM (AND YES, THIS A THING). BUT TRUTH IS, NEITHER REALLY MATTER. THE TOWN SIMPLY WELL-MADE AND FOCUSED MOVIE. HEIST SCENES REALISTIC YET RATHER INTENSE. CHARACTERIZATION FLUID. MAIN ROMANCE ORGANIC. IT FRAMEWORK IMPECCABLE. IF HULK HAVE ONE WORD USE TO DESCRIBE, HULK SAY “BALANCED” BUT MOST IMPORTANT OF ALL, THE TOWN (+ GONE BABY GONE) SHOW AFFLECK DYNAMIC AND HAVE BRIGHT FUTURE. AFFLECK DONE GOOD.

YOU CAN NO DRINK TEA UNDERWATER. SHE NOT EVEN HAVE CUP.

10. SOMEWHERE

HULK DETAIL THOUGHTS HERE. THIS FILM REALLY GROW ON HULK.

"THE BEST THING ABOUT THIS MOVIE IS PEOPLE WILL STOP MISTAKING YOU FOR MICHAEL CERA... HOPEFULLY... PEOPLE ARE PRETTY DUMB."*

9. THE SOCIAL NETWORK

PLACEMENT OF SOCIAL NETWORK ON HULKS LIST VERY TRICKY. IT MOVE AROUND LOTS. SOMETIMES HULK PLACE AS HIGH AS 5. AND HULK DO SO CAUSE FIRST HOUR BEYOND EXCEPTIONAL. IT BALANCE PROPULSIVE FILMMAKING AND CAREFUL ARTICULATION. HULK LOVE IT CAUSE IT DO THINGS WELL MOST MOVIE NOT BOTHER DO AT ALL. LIKE DIALOGUE, ETC… BUT SECOND HALF MOVIE TEND WANDER FOR HULK (EVERYTHING POST-TILT SHIFT RACE SEQUENCE). THERE LEVEL OF DIFFICULTY BECAUSE OF REAL NON-FICTION ELEMENT HULK KNOW… BUT HULK FEEL LIKE THEY SPEND SO MUCH TIME SETTING UP ENDING AND THAT TIME COMPLETELY LACK FOCUS OF WHAT COME BEFORE. WORSE, HULK FEEL LIKE SECOND HALF LOSE TRACK OF ZUCKERBERG ALL TOGETHER. THIS SOUND LIKE INANE COMPLAINT CONSIDERING ALL THIS MADE UP WITH POIGNANT, BITING ENDING… HULK LOVE WHAT THE SOCIAL NETWORK HAVE TO SAY, AND HOW IT SAY IT… BUT STILL HULK CAN’T SHAKE SOMETHING ABOUT AIMLESSNESS OF LAST HOUR. SOCIAL NETWORK TRANSCENDENT, YET LIMITED. YEARS FROM NOW WHO KNOW WHERE THIS BE ON LIST? EVEN IN WRITING THIS, HULK FEEL LIKE IT CHANGING HULK’S MIND.

*AND HULK LIKE MICHAEL CERA TOO DAMMIT. EVERYONE STOP COMPLAIN.

"ALL RIGHT LET'S GO FIND SOME MORE SQUIRREL GUTS"

8. WINTER’S BONE

THERE THREE THING THAT ELEVATE THIS QUIET, ABSURDLY WELL-MADE OZARK NOIR: 1) JENNIFER LAWRENCE AS REE. SHE INCREDIBLE. SHE CARRY WEIGHT OF ENTIRE MOVIE AND HAVE DO SO MANY THINGS WITHOUT REALLY CHANGING OUTWARD BEHAVIOR. NOW HULK JUST WORRY ABOUT LACK OF GREAT ROLES FOR JENNIFER LAWRENCE CAUSE NO GOOD ROLES FOR YOUNG WOMEN. 2) FILM SO ASSURED. DIRECTOR DEBRA GRANIK HAVE SUCH SENSE FOR ENVIRONMENT. 3) WINTERS BONE MADE TRANSCENDENT BY JOHN HAWKES. HULK  MUST GET SPOILERY NOW SO TURN AWAY IF NO SEE MOVIE… THERE NOTHING MORE AMAZING IN FILM THEN WHEN AUDIENCE CONSTANTLY CHANGING ITS MIND ON CHARACTER PURELY THROUGH NATURE OF THE CONTEXT. EVOLUTION OF HAWKES’ CHARACTER KIND OF BALANCING ACT THAT NEARLY IMPOSSIBLE TO DO. AND IF THAT DON’T WORK MOVIE FAIL ALL TOGETHER… “THIS GOING TO BE END OF THINGS?”

THEY ALMOST FILMED MOVIE LIKE THIS

7. SCOTT PILGRIM VS. THE WORLD

TRUST EDGAR WRIGHT. IT THAT SIMPLE. AT FIRST, MANY REACT AND UNFAIRLY MALIGN PILGRIM AS “HIPSTER BULLSHIT” (NONSENSICAL TERM THERE EVER WAS ONE). IN DO SO, WHAT THEY MISS IS ENDLESSLY INVENTIVE AND BADASS FILM. IN FACT THIS FILM ABOUT BEATING UP HIPSTERS. SO POTENTIAL AUDIENCE MAY HAVE… MISUNDERSTOOD. BETTER YET, PILGRIM ANCHORED BY SIMPLE FOCUS ON MATURITY IN RELATIONSHIPS AND DO SO IN REALISTIC WAY, FAR REMOVED FROM TRADITIONAL LOVE STORY RHAPSODY. BUT THE EDITING OF OF FILM MAY BE BIGGEST WINNER. IT TAKE DEEPLY EPISODIC NARRATIVE AND TURN IT STREAM OF CONSCIOUSNESS FLO-MATIC GENIUS. HULK IN AWE… OF COURSE, IN COMICS THERE NICE FOCUS ON MALAISE AND REAL LIFE JOB STUFF AND HULK WISH THAT HAVE SOME REPRESENTATION, BUT THAT MINOR. THE FILM PERFECT COMPANION PIECE TO THE BOOKS… THERE NO HIGHER COMPLIMENT.

JESUS

6. BLACK SWAN

ARONOFSKY TYPICALLY ON-POINT. THE MAN DIRECT HELL OUT OF MOVIES. BLACK SWAN GET DEEP UNDER HULKS SKIN. IT VISCERAL BODY HORROR + REALISTIC PORTRAIT OF RIGORS OF BALLET. AND IT ESSENTIALLY HAUNTING META-REWORKING OF SWAN LAKE ITSELF. BRILLIANT. BUT REALLY “BLACK SWAN” IS NATALIE. SHE TRANSCENDENT (HULK KEEP USING THAT WORD. HULK KNOW. BUT HULK DOING IT FOR REASON. HULK TRYING CONVEY WHAT MAKE MOVIE MORE THAN GOOD). NATALIE’S WHITE SWAN MORE NATALIE WE SEEN BEFORE, BUT TO WATCH UNRAVEL AND WHEN FINALLY SHE HAVE TRIUMPHANT “BLACK SWAN” MOMENT IT TRULY ENTHRALLING.

IF YOU SEE HER YOU ALREADY DEAD

5. KICK ASS

HULK FIND THIS MOVIE THE MOST COMPLEX THING COME OUT THIS YEAR BELIEVE OR NOT… LIKELY YOU NOT. WHERE WATCHMEN HAVE LOT TO SAY ABOUT POLITICS, HUMANITY, AND CULTURE. KICK ASS COMMENTARY STAY ALMOST SUPERHERO SPECIFIC. (AND LET HULK TELL YOU, HULK KNOW THING OR TWO BOUT SUPERHERO). KICK ASS ABSOLUTELY UNDERSTOOD ITS MOMENT. IN WORLD WHERE SUPERHERO ORIGINS/DYNAMICS STALE AND ROTE TO AUDIENCE, KICK ASS ELEVATE COMIC VIOLENCE INTO ACTUAL VIOLENCE (GETTING COMIC FAN WORKED UP/ENTRALLED/AMAZED) THEN USE TIMELY INJECTIONS OF GRISLY REALISM TO TURN MOMENTS AND EXPECTATIONS ON HEAD (THINK THE STABBING, THE VIDEO, ETC). THIS NOT TO “FUCK WITH AUDIENCE” OR COME WITH SOME INNER MOTIVATION TO “GO DARKER” THIS BRILLIANT WAY OF ACTUALLY GETTING CYNICAL COMIC AUDIENCE TO REACT. TO CARE. THE AUDIENCE NOT LIKE “OH AWESOME!” THEY ACTUALLY SAY “OH NO!” KICK ASS HAVE ACTUAL HUMAN GRAVITY. KICK ASS ACTUALLY GET JADED COMIC NERDS TO CARE. AND IN END THEY CREATE MOVIE THAT ULTIMATELY SUPERHERO AFFIRMING PIECE OF WORK. IT VERY MODERN+ADULT TAKE ON SAME MESSAGE THAT COMICS GIVE YOUNG KIDS. THAT REMARKABLE TO HULK… PLUS DOUBLE BONUS FOR MATTHEW VAUGHN CAUSE HE GET RID OF RIDICULOUS SEXISM/RACISM OF COMIC AND CLARIFYING MESSAGE HULK STATED ABOVE. COMIC NO REALLY UNDERSTAND WHAT IT SAYING. MOVIE DID… MARK MILLAR SUCKS.

RUINING IT FOR EVERYONE ELSE... JERKS

4. TRUE GRIT

THE COEN BROTHERS HUMBLE HULK. THERE WORK ALL TOO GOOD. THERE NOT SINGLE NEGATIVE THING SAY ABOUT THIS FILM. IT FLAWLESS. COENS WRITE “AMERICAN SHAKESPEARE” HERE ACCORDING TO BARRY PEPPER AND HULK AGREE. EVERY SINGLE PERFORMANCE COULD BE CONSIDERED BEST IN FILM. SERIOUSLY, HULK CAN MAKE ARGUMENT FOR BRIDGES, STEINFELD, DAMON, BROLIN, PEPPER, THE COL., AND EVEN BEAR MAN ALL HAVING BEST PERFORMANCE…  [HULK SHAKES HEAD]… IT JUST TOO GOOD… ONLY REASON THIS MOVIE NOT HIGHER CAUSE… CAUSE… IT NOT TRANSCENDENT LIKE SOME THERE OTHERS? MAYBE CAUSE IN END IT JUST STRAIGHT-UP WESTERN? (UNLIKE, SAY, 3RD ACT INVERSION/POETICS OF NO COUNTRY?) … MAYBE CAUSE HULK KNEW COENS COULD MAKE THIS MOVIE IN THEIR SLEEP? … WHICH INCREDIBLY UNFAIR TO THEM AND ALL OTHER FILMMAKER… BUT… BUT THEY JUST TOO GOOD!

GRETA GERWIG WONDER IF THERE MISPRINT ON STILLER'S CHECK FOR LITTLE FOCKERS... THERE NOT.

3. GREENBERG

EVERYBODY SEEM MISS THIS. THAT SHAME. NOAM BAUMBACH OFTEN MAKE FILM THAT LIKE DAGGER TO HULK’S HEART (WHICH MEAN DAGGER PRETTY STRONG, CAUSE HULKS GREEN SKIN TOUGH). HE MAKE SCATHING YET PERFECTLY FAIR FILMS. AND THERE SOMETHING VERY SPECIFIC THIS FILM CAPTURE. SOMETHING ALMOST WITHOUT DEFINITION: THE PAIN OF GROWING UP AND FEELING YOU MISS OUT ON SOMETHING DEEPER WITHOUT EVEN KNOW WHAT IT IS. OR THE FEELING OF WATCHING OWN LIFE PASS YOU BYE EVEN WITH BEST INTENTIONS. NOW, THIS SOMETHING LOTS OF CHARACTERS EXPRESS IN MOVIES ALL THE TIME (USUALLY BEFORE STARTING AFFAIR OR CHANGING LIFE OR SOMETHING) BUT NEVER IT FEEL REAL. NEVER IT FEEL EARNED. IT MERELY PRESENTED AS JUSTIFICATION FOR MOST DUMB PLOTS TO BEGIN. BUT IN GREENBERG. ALL TOO REAL. BAUMBACH KNOW TREAT MALAISE NOT EXISTENCE OF SADNESS (OR, LIKE, DRUG INDUCED COMA). AND BETTER YET BAUMBACH KNOW MOVIES WITH THESE AFOREMENTION “LIFE CHANGES”  MOVIES JUST ATTEMPT FOR WRITER TO JUSTIFY SELFISHNESS. BECAUSE BAUMBACH KNOW IN END MATURITY ABOUT THE EMBRACING THE SADNESS OF SIMPLE DEVOTION TO OTHER PEOPLE. ABOUT THE PAIN OF SELFLESSNESS.  IT CAPTURE A KIND OF REALISM HULK NEVER REALLY SEE IN MOVIES. STILLER REALLY, TRULY DELIVER. AND GRETA GERWIG JUST PHENOMENAL. SHE HAVE EXACT UNDERSTANDING OF HER CHARACTER. THIS EASILY ONE OF HULK’S FAVORITES OF YEAR.

"WEE BOUNCING OFF YOUR TEETH"

2. FOUR LIONS

YES. THIS FILM ABOUT TERRORISTS. THIS NOT REALLY MATTER.  HULK NOT INTERESTED IN HAVING CONVERSATION ABOUT WHETHER OR NOT THAT VALID. (ASKING WHY SOMEONE MAKE FILM LIKE THIS ANSWER TO IT OWN QUESTION) BESIDE IT NOT “WHAT” FILM ABOUT. IT “HOW” IT ABOUT. AND “HOW” OF FOUR LIONS = REALLY, REALLY FUNNY. HULK LAUGH HARD. HULK LAUGH CONSISTENTLY WHOLE WAY THROUGH (LUCKILY, HULK NEVER WATCHED TRAILER. IT SPOIL LOTS). BUT ALL THIS JUST REQUIREMENT FOR BEING GOOD COMEDY (WHICH FOUR LIONS IS). WHAT PUSH THIS MOVIE TO DIFFERENT LEVEL THAT IT HAVE SOMETHING SAY ABOUT WHY SOMEONE SUBJECT THEM SELF TO HARDCORE IDEOLOGY. FOUR LIONS UNDERSTAND THE MOTIVATIONS BE ANYTHING REALLY. AND THEY NO HAVE BE OVERT. FROM FEELING LIKE OUTCAST. TO FAMILIAL. TO REPRESSED SEXUALITY. TO JUST BEING STUPID BEYOND COMPARE. AND OFTEN WHAT PUSH PEOPLE FROM BEING IDEOLOGUE TO OUTRIGHT TERRORIST, IS SIMPLY MATTER OF CIRCUMSTANCE AND TIMING. SO WHEN FILM REACH WHIMSICAL/HAUNTING FINALE (SET TO APHEX TWIN’S AVRIL 14!) IT ALL BECOME SURREALLY POIGNANT. IF YOU THING HULK EXAGGERATING, YOU NOT FAMILIAR WITH CHRIS MORRIS. THIS NOT JUST A FUNNY/GOOD FILM. THIS IMPORTANT FILM.

JOSEPH GORDON LEVITT... BADASS

1. INCEPTION

HULK NOT NOLAN FAN BOY. HULK APPRECIATE ELEMENTS OF HIS WORK. BUT HULK HAVE SERIOUS PROBLEMS TOO. SO TRUST HULK WHEN HULK SAY HULK NOT PREDISPOSED TO LIKE INCEPTION… YET WHEN HULK SIT DOWN TO SEE, HULK ABSOLUTELY BLOWN AWAY BY THIS STAGGERING ACHIEVEMENT.  HULK THINK INCEPTION A LANDMARK FILM AND VERY DEFINITION OF THAT WORD HULK KEEP REPEATING: “TRANSCENDENT.” INCEPTION WORK AS STYLISH THRILLER. IT WORK AS HEIST MOVIE. IT WORK PSYCHOANALYTIC FRENCH NEW WAVE FILM. IT WORK AS LEONARDO’S BEST WORK. IT WORK AS TOM HARDY SHOWCASE. IT WORK AS JOSEPH GORDON LEVITT BEING DEBONAIR BADASS. IT WORK AS ATTEMPT REMIND HULK TOM BERENGER STILL ALIVE. IT WORK AS ALL THESE THING.

HULK FEEL LOT OF PEOPLE MISTAKE IDEAS IN MOVIE FOR JUST BEING  “IS IT ALL A DREAM?” TYPE-BULLSHIT. THEY MISSING FAR BIGGER QUESTIONS. NOLAN NOT INTERESTED IN NATURE OF REALITY, BUT OUR REACTIONS TO NATURE OF REALITY. WHICH WHY MOVIE SPEND SO MUCH TIME ON PSYCHOANALYSIS. NOLAN INTERESTED IN HOW WE DEAL WITH TRUTHS ABOUT SELVES AND HANGUPS. HOW IT PARALYZE US AND SNEAK INTO DAILY WORK. ALL THIS FASCINATING, AND PSYCHOANALYSIS OF EACH CHARACTER TIE DIRECTLY INTO THEY PLOT MOTIVATIONS. NOLAN WANT KNOW WHAT DRIVE U?. WHAT DRIVE AN IDEA? WHAT DRIVE HIS OWN FILMMAKING? WHAT DRIVE NARRATIVE AND EXCITEMENT? AND HE ADDRESS ALL AND MORE SO.

AND FOR RECORD, HULK FIND ARGUMENT ABOUT WHOLE MOVIE/WHICH PARTS “IS REAL” VS “IS NOT REAL” TO BE BAFFLING. NOLAN DOING VERY CLEAR THING. NOLAN DOING OLD MATHETMATIC TRICK OF “ALL ANSWERS WITHIN SET X”… MEANING NOLAN CREATE MOVIE WHERE BOTH EXPLANATIONS (“REAL” / “NOT REAL”) WORK ENTIRELY (NO EVIDENCE SO STRONG AS TO OUTWEIGH OTHER). THE MUCH-TALKED-ABOUT-ENDING JUST HAMMER THIS POINT HOME. IT NOT ONE OR OTHER. IT BOTH. AND THAT THE REAL TRICK.

BUT BACK TO PSYCHOANALYSIS BEING FOCUS OF MOVIE (NOT DREAMS), SOME SAY NOLAN CHEAPEN FILM BY MAKING THE THEMATICS LITERAL MCGUFFINS, BUT HULK THINK THAT THE GENIUS! NOLAN TURN PURELY ABSTRACT CONCEPT OF SYMBOLIC IMAGERY, SON/FATHER RELATIONSHIP, AND GUILT/REGRET INTO COMPELLING-AS-HELL-HEIST FOR MULTIPLEX AUDIENCE! HOW THAT NOT SOMETHING TO BE CELEBRATED? HULK FEEL LIKE THAT REALLY NOT BEEN ACHIEVED SINCE HITCHCOCK KNOCK EVERYONES ASS OUT OF WATER DOING SAME THING.

THE LOVE FOR THIS ONE SORT OF DISSIPATE LATELY… HULK NOT SURE WHY.

HULK THINK INCEPTION A “NEXT LEVEL” FILM.

AND THE BEST OF YEAR.