This is far better than the subsequent and trepid MCU entry, "The Incredible Hulk" (2008), and much other superhero fare, simply for some originality and thought being put into the visuals. Such was quite rare for the emerging genre at the turn of the century. Sure, the CGI is dated now, but it's superior to much of the cartoony leaping of figures in "Daredevil" (2003), "Catwoman" (2004) and even "Spider-Man" (2002). I rather like the brightness of the green here, too, which is such a relief from a lot of the needlessly dark--except to cover up CGI cheats and otherwise lack of interest--texture of many of these movies. More importantly, the camera bounds along with the Hulk. Compare that to the static views of characters supposedly gliding and web-slinging in "Spider-Man." Most impressive, methinks, though, are the transitions between scenes. "Hulk" remains unique to this day in this regard, as director Ang Lee and company experimented by making sequences appear the cinematic equivalent of comic-book panels.
It's also interesting that the story is relatively skeptical of American military might so soon for a blockbuster post 9/11 and that there's relatively less smashing than in some other supes burgers (and this despite the Hulk being larger than some other depictions, more like King Kong), but this one does follow the same plot of science-gone-wrong, simplified Jekyll/Hyde anger issues, listless love interest with Betsy, failed military containment by her father, and final confrontation with another monster that comprises "The Incredible Hulk" and, to a large extent, many other such movies, so that's not what's important. Perhaps, a bit more psychologizing, with repressed memories, daddy issues and dreams is here, but that's about it. The main distinction is stylistic--the recognition that cinema is a unique visual art form that requires visual adaptation, and that's what "Hulk" achieved.
The zooming montages through different scenes, the split-screen separation of others, different views of the same characters simultaneously--it's the best attempt I've seen at creating a cinematic comic book. The camera is quite free, too. Shots appear from various angles, often at the same time and of slightly different times. It's as though the spectator, through the camera's eye, were flipping through a comic book where motion pictures replaced the static drawings. Not only a feat of cinematography and editing, either, this, I'm also impressed with the sound design--and even the score--with accompanying such complicated layering of images.
