In his
review of
The Incredible Hulk, Roger Ebert pauses to reflect on what is probably the movie's single most arresting visual—and it has nothing to do with the story or its characters:
"Banner's Brazilian sojourn begins with an astonishing shot: From an aerial viewpoint, we fly higher and higher above one of the hills of Rio, seeing hundreds, thousands, of tiny houses built on top of one another, all clawing for air.
"This is the
City of God neighborhood, and as nearly as I could tell, we are looking at the real thing, not CGI. The director lets the shot run on longer than any reasonable requirement of the plot; my bet is, he was as astonished as I was, and let it run because it is so damned amazing."
Whatching that thrillingly vertiginous shot just go on—and on—and on—I was swept up in the when-will-it-end tension of the terrain and found myself reflexively reaching for a phantom TiVo remote whereby to review the footage in the hopes of discerning its hidden tesselations, its artfully concealed digital seams; but no: I imagine it was the most genuine thing in the whole film, more inherently dramatic in its fleeting seconds than the next two hours of CGI wrecks and effects.