This HULK has an appealing fan boyish charm as it references the series : Lou Ferrigno has a nudge-nudge cameo and also provides the voice of this “Hulk”, while a Bill Bixby cameo is incorporated along with the original TV theme and the famous, melancholic “walking away” music. It also displays a knockabout sense of humor - there’s a great gag about large stretchy pants - , exhibits geeky delight in using iconic Hulk catchphrases (“Hulk Smash”, plus a funny scene in which Bruce Banner accidentally says “You wont like me when I’m hungry” in a foreign lingo) and shoehorns in the now-expected, amusing Stan Lee cameo.

   Even more likely to make the comic book fan-boys shoot their collective wad is a final scene involving a cameo from Robert Downey Jr, in his Tony Stark IRON MAN guise, providing a cute link to the summer’s other (more successful) Marvel movie while whetting the appetite for the proposed AVENGERS movie already promised by IRON MAN’s post-credits sequence. (The erstwhile Iron Man’s “Stark Industries” plays a significant part in this film’s plot).

   There’s more action and excitement in this film’s title sequence than there was in the entirety of THE HULK. After putting girlfriend scientist Liv Tyler in hospital following a hulk-out in the lab, Bruce Banner (Edward Norton) is on the run and striving to contain his inner-green monster via a punishing anger management regime. Tyler’s stern General dad (William Hurt) was instrumental in creating Banner’s alter ego thanks to his government-sanctioned experiments to create a Super Solider. Just as he’s mastered the art of restraining the green, Hurt sends in a team to locate and capture Banner, led by ruthless tough Brit agent Tim Roth. When the Hulk - still lovelorn over Liv - proves a formidable opponent, Roth is subjected to experimentation himself and the two monstrous alter-egos go head to head.

   Fine performances are the key here : in a functional role, even Tyler is appealing, while Hurt is as stern and imposing as his moustache and there’s a nice character bit for the reliable Tim Blake Nelson. It’s all about the leads, however, who are terrific : a far more sympathetic and accessible Bruce Banner than Eric Bana, Norton’s presence is closer to Bill Bixby and the actor (whose uncredited involvement with the script has provoked much post-production controversy) conveys just the right amount of charisma, angst and humor. Roth makes for a marvelously determined and menacing Hulk opponent. These two excellent actors, both making a rare entry into summer blockbuster territory, are so enjoyable to watch that it seems a shame the climactic confrontation necessitates their replacement with CG monsters. This climax, however, still manages to easily outdo the damp squib of IRON MAN’s denouement in the spectacle stakes, with an exhilarating battle royal between The Hulk and The Abomination on the streets of N.Y.C. achieving plenty of flung cars, destroyed buildings and good old fashioned B movie excitement.

   Replacing bad memories of the bouncing green jelly bean of THE HULK, this film’s CG is generally first-rate, with Leterrier unveiling his Hulk infinitely sooner than Lee. Tellingly, while this new Hulk is a quantum leap above its predecessor, the creature is a more potent presence in the first half, when his obvious CG-nature is nicely concealed via the use of mystique-enhancing shadows and smoke. The Abomination, meanwhile, is an impressively grotesque figure and effortlessly steals the show in the final stages.

   This briskly paced movie also benefits from a rich, first-class score by Craig Armstrong.