A SECOND LOOK: THE HULK

 

Welcome back for another edition of A Second Look with Jeff Stockton! In this segment I will take a "second look" at a past LRF release with a fresh set of eyes.

With The Hulk 3 recently restoring a lot of goodwill toward LRF's gamma-powered franchise, it felt like the perfect opportunity to revisit where it all began. Leigh Whannell's first film follows physicist Bruce Banner (Mark Duplass), who is recruited by General Ross (Don Johnson) to help weaponize gamma radiation against future extraterrestrial threats. When an experimental gamma bomb detonates prematurely, Bruce is transformed into the Hulk, forcing him to battle fellow gamma mutate Ben Tibbetts (Zach Gilford) while military leaders argue over whether the Hulk is mankind's greatest weapon or greatest threat. Back in Season 17, I thought this was one of Marvel's stronger origin stories, praising Mark Newton's comic-accurate script, Duplass' inspired casting as Banner, Don Johnson's terrific take on Thunderbolt Ross, and what I considered nearly perfect casting across the board. I walked away convinced that LRF had finally cracked the Hulk after years of uneven live-action results.

Watching it again after the third film, I still think the casting is virtually flawless. Duplass remains my favorite live-action Bruce Banner because he actually feels like a brilliant but emotionally fragile scientist rather than simply a reluctant superhero, and Johnson's Ross has only grown in stature as the series has progressed. What doesn't hold up quite as well is the scale. The action feels surprisingly restrained for a Hulk film, with much of the story confined to military bases and laboratories instead of embracing the sheer destructive spectacle the character thrives on. Like Mark Newton's first Fantastic Four film, The Hulk spends so much time carefully constructing a grounded, realistic origin that it occasionally forgets to simply let audiences revel in the fun of watching the Hulk cut loose. It's still an excellent foundation for the trilogy, but knowing where the character eventually goes makes this opening chapter feel a bit more cautious than it needed to be.

The Hulk Link : https://www.lrfdb.icu/THE-HULK

Original Grade: B+

New Grade: B-

PREMIERE MAGAZINE #358

 

THE ROUNDUP WITH JEFF STOCKTON (SEASON 36 ROUND 8)

 

This round we got a worthy sequel, a strong showcase for one of LRF's brightest stars, and another reminder that good writing doesn't always translate into ticket sales. We also got one of the season's biggest disappointments. Here's The Roundup....

BUFFY THE VAMPIRE SLAYER 2

Sometimes a sequel doesn't need to reinvent the franchise. It just needs to remind you why you liked it in the first place. That's exactly what Buffy the Vampire Slayer 2 accomplishes. The film embraces the wonderfully weird balancing act that made the property such a cult favorite to begin with: genuine horror, tongue-in-cheek satire, and just enough self-awareness to keep everything from becoming too serious. The vampire action is fun, the humor lands more often than it misses, and the PG-13 rating gives the filmmakers enough room to deliver satisfying monster mayhem without losing the broader audience.

Is it perfect? No. But sometimes "worth the wait" is the highest compliment you can give.

CHLOE GRACE MORETZ

Every season seems to produce another reminder that Chloe Grace Moretz is one of LRF's most dependable leading actresses. She isn't always attached to the biggest hit. She isn't always attached to the highest-rated film. But she's almost always one of the best things in whatever she's in.

Fading Star certainly didn't approach the commercial success of Supergirl, and it is unlikely to generate the same awards buzz that surrounded her transformation into Madonna in Material Girl. But this performance reinforces something we've known for a while now: give Moretz substantial material and she'll deliver.

HOLDEN ABBOTT

Holden Abbott deserves better than his box office resume suggests. Yes, the numbers are ugly. Yes, another one of his films failed to catch on commercially. But if we're judging the work instead of the receipts, I genuinely don't think Abbott has written a bad pitch yet.

Formulaic occasionally? Sure.

Predictable in spots? Absolutely.

Poorly written? Not at all.

THE BOUNTY HUNTER

This one just never came together. Chris Evans never convinced me he belonged in this role. It's not that he's untalented—far from it—but this character required a rougher, more unpredictable presence than Evans naturally projects. It felt like star casting rather than right casting. Then there's Zack Snyder. Again, talented filmmaker. Wrong filmmaker. Nothing about his visual style or storytelling instincts felt like a natural match for this material. Instead of elevating the premise, the direction often made it feel oddly stiff and self-important. Throw in a villain who never feels remotely threatening, and you've got a movie that constantly asks the audience to invest in conflicts that never become convincing.

The disappointing box office doesn't surprise me in the slightest.

FADING STAR

This is one of those movies that's... fine. And that's kind of the problem. I enjoyed watching it. I admired several of the performances. Christopher Storer directs with confidence, and Chloe Grace Moretz carries the emotional weight beautifully. But I kept waiting for the story to surprise me. It never really did. Every major emotional beat felt exactly like the one I expected was coming. The themes are worthwhile, the execution is competent, but the screenplay rarely takes risks once it establishes its premise. Sometimes predictability isn't fatal.

In this case, it kept Fading Star from becoming something truly memorable.

BOX OFFICE

Well... We finally have our second losing round of the season. Round 3 earned that distinction thanks almost entirely to the financial crater left by Stretch Armstrong. Round 8 gets there the old-fashioned way: nobody showed up in large enough numbers. Even with Buffy the Vampire Slayer 2 turning a respectable profit, The Bounty Hunter and Fading Star combined to drag the entire round into the red. That's becoming the defining financial story of Season 36. Every time the studio seems ready to build momentum, another disappointing round pulls it right back down.

At this stage, the pressure on the final six films of the season is immense. The slate needs more than just solid performers. It needs hits.

ON LOCATION (SEASON 36 ROUND 8)

 

Fading Star

- Salt Lake City, Utah, USA

Buffy the Vampire Slayer 2

- San Diego, California, USA

The Bounty Hunter

- Atlanta, Georgia, USA

BOX OFFICE BREAKDOWN (SEASON 36 ROUND 8)

 

BUFFY THE VAMPIRE SLAYER 2

Budget: $40,000,000

Total Box Office: $131,525,669

Total Profit: $55,194,234

The return of the Slayer proved to be another smart investment for LRF, with Buffy the Vampire Slayer 2 comfortably turning a profit despite its modest budget. While not one of the season's mega-hits, the sequel reinforced the franchise as a consistently reliable performer.

BOX OFFICE FACT

Writer Walter McKnight remains one of LRF's most dependable commercial voices. Across eight films dating back to Season 17, every one has turned a profit despite wildly varying budgets and genres.

GENRE RANKINGS

Horror: #45

Comedy: #40

THE BOUNTY HUNTER

Budget: $85,000,000

Total Box Office: $80,094,428

Total Profit: -$53,001,701

Despite its star power and action pedigree, The Bounty Hunter failed to recoup its sizable investment and became one of Season 36's biggest financial disappointments. The result continues an alarming downturn for one of LRF's previously most dependable blockbuster directors.

BOX OFFICE FACT

Director Zack Snyder's last two LRF films—Spelljammer and The Bounty Hunter—have now combined to lose more than $150 million, a dramatic reversal after successes like the Gears of War franchise and Kill Zone.

GENRE RANKINGS

Action: #281

FADING STAR

Budget: $27,000,000

Total Box Office: $23,730,087

Total Profit: -$15,509,333

Prestige drama once again proved to be a difficult sell at the box office as Fading Star became another financial setback. While its budget limited the damage, the loss continues a frustrating trend for one of the studio's newest writers.

BOX OFFICE FACT

Through five LRF films, writer Holden Abbott is still searching for his first profitable release. Collectively, his films have now lost approximately $80 million, averaging a $16 million loss per film.

GENRE RANKINGS

Drama: #354

Season 36 Round 8 Total Box Office:

$235,350,184

Season 36 Round 8 Total Profit:

-$13,316,800

Round 8 became the second unprofitable round of Season 36, as the combined losses of The Bounty Hunter and Fading Star outweighed the solid performance of Buffy the Vampire Slayer 2.

Season 36 Total Box Office:

$4,532,320,483

Season 36 Total Profit:

$854,332,540

With just two rounds remaining, Season 36 now finds itself in an interesting position. The year has delivered three Blockbusters, two major Hits, and a healthy collection of profitable mid-budget films, but those successes have been offset by several expensive disappointments. Barring an extraordinary finish, the season appears headed for a solid but unspectacular financial result by LRF standards.

SEASON 36 BOX OFFICE STANDINGS

1. Boba Fett — $763,673,771 👑

2. Donkey Kong Country — $720,434,668 👑

3. The Hulk 3 — $641,110,407 👑

4. Lobo — $480,893,956 🔥

5. Assassin's Creed: Eternal — $421,105,411 🔥

6. The Song of Roland — $263,839,608 💰

7. Luke Cage: The Purple Man — $249,978,106 💰

8. Stretch Armstrong — $144,189,611 ☠️

9. Buffy the Vampire Slayer 2 — $131,525,669 💰

10. Fletch — $123,159,160 💰

11. Echoes of Red — $82,814,137 💰

12. Double Date — $80,369,160 💰

13. The Bounty Hunter — $80,094,428 ☠️

14. Gray — $62,441,218 💣

15. Darkness — $43,316,174 💰

16. 1995 — $40,003,252 💰

17. Pirouette — $39,100,555 📉

18. Three Rounds — $34,386,590 💣

19. The Quiet Between Us — $26,319,562 📉

20. Heartbeat — $25,404,407 💣

21. Fading Star — $23,730,087 💣

22. Voice — $23,437,788 💣

23. Diary of a Wimpy Kid — $18,000,669 💣

24. 1016 West Monroe — $12,992,089 💣

LRF TRIVIA TIDBITS (SEASON 36 ROUND 8)

 

Round 8 of Season 36 highlights just how fragile film development can be. One sequel nearly collapsed before production began, another major role had to be recast after an early rejection, and a first-time feature director finally got his opportunity after the original filmmaker stepped aside.

BUFFY THE VAMPIRE SLAYER 2

Buffy the Vampire Slayer 2 came remarkably close to never entering production. First, Jacob Elordi declined to reprise his role as Oliver Pike from the original film. Then, star Meg Donnelly's superhero vehicle The Saints became a costly box office disappointment for LRF. Faced with those setbacks, writer Walter McKnight and director Cathy Yan seriously considered abandoning the sequel before ultimately pushing forward.

THE BOUNTY HUNTER

Natalie Portman was the filmmakers' first choice to play Angela, but she declined the role after feeling the character's limited screen time did not justify her involvement. Her departure opened the door for Mackenzie Davis, whose casting was enthusiastically supported by both star Chris Evans and director Zack Snyder.

FADING STAR

Fading Star marks Christopher Storer's feature directorial debut, though he wasn't the project's original choice. Todd Haynes was initially offered the film but opted to take time away from directing after the demanding awards campaign surrounding Season 34 Best Picture nominee Starlight, paving the way for Storer to make his first feature.

Release: Fading Star

 

Fading Star

Genre: Drama

Director: Christopher Storer

Writer: Holden Abbott

Cast: Chloe Grace Moretz, Laura Linney, Mark Ruffalo, Leo Woodall, Charlie Tahan, Eliza Coupe, Fivel Stewart

Budget: $27,000,000

Domestic Box Office: $13,240,594

Foreign Box Office: $10,489,493

Total Profit: -$15,509,333

Reaction: The Drama genre is struggling mightily this season with Fading Star joining the list of box office causalities.

"Fading Star is a raw, intimate character study elevated by a powerful central performance from Chloë Grace Moretz. Christopher Storer directs with a naturalistic touch, allowing the story to unfold in quiet, emotionally loaded moments rather than melodrama. While the narrative occasionally treads familiar ground in its 'fallen celebrity' arc, the performances—particularly Moretz and Laura Linney—give it authenticity and weight. It’s a haunting, grounded look at identity and recovery." - Michael Wilmington, Rolling Stone

"Though I believe writer Holden Abbott's intentions for Fading Star were in the right place, the raw performance from Chloe Grace Moretz and the great one scene performance from Mark Ruffalo are rather wasted on a script that barely scratches the surface on a topic that had so much more to explore and give." - Sammi Davis Jr, Bangor Daily News

"Though Fading Star has strong performances, it often feels overly familiar in its portrayal of a troubled former child star. The film leans heavily on well-worn beats—public meltdown, return home, therapy sessions—without adding much new perspective. Its pacing can feel uneven, and the final act, while emotionally potent, undercuts its own sense of resolution. Moretz does her best to carry the material, but the script doesn’t always give her enough fresh ground to explore." - Dave Manning, Ridgefield Press

Rated R for language, substance abuse, and thematic elements.

Top 10 Jacob Jones Films 2.0

 

Sherman J. Pearson here for another Top 10. Writer Jacob Jones was back on the big screen with his latest script, The Bounty Hunter, this round. I haven't looked at his Top 10 films in over 6 years, so now seemed like a good time.

Top 10 Jacob Jones Films 2.0

10. The Oil Slick

9. Tara's Web

8. Victims

7. Saving Yemen

6. Danya

5. The Phantom of the Opera

4. Accordion De Chanson

3. Emergency

2. Golden Girl

1. E.P.

Now Showing: Fading Star

 

Fading Star

Genre: Drama

Director: Christopher Storer

Writer: Holden Abbott

Cast: Chloe Grace Moretz, Laura Linney, Mark Ruffalo, Leo Woodall, Charlie Tahan, Eliza Coupe, Fivel Stewart

Plot: Olivia Holloway (Chloe Grace Moretz) sits on a couch staring in disbelief at her phone, watching a tabloid news story - in the video is herself with the headline, “Former Child Star’s Public Meltdown: Where Did It All Go Wrong?” She begins pacing around her apartment before receiving a phone call from her mother. On the other side her mother is her voice of reason - she pleads with Olivia to come back home - leave LA behind and settle back down locally. When Olivia hangs up she sits in silence, contemplating the decision.

Olivia sits in a taxi - delivering her to her childhood home. Through conversation with the taxi driver it is revealed Olivia has not been home in 10 years. After a brief awkward conversation Olivia sits in silence.

Olivia is met on her childhood home’s doorstep by her mother Linda (Laura Linney) - although Linda seems relieved to have her daughter home, she also seems to feel the weight of the scandal bringing her home. Their reunion is very simple, a hug and Linda asking if she needs food. Olivia says she’s ok walking straight toward her childhood bedroom - filled with memorabilia from her time as a child star. These items, once symbols of success - now remind her of everything she’s lost.

Linda comes into her room and sits next to Olivia. She asks Olivia if she needs anything she will always be here. Olivia looks at her in silence, Linda tells her that she knows that in the past she has pushed her and she’s sorry but she is glad she’s back. Linda tells Olivia that she will leave her be until she is ready. Olivia nods at her mother - thanking her.

Olivia goes for a walk around town - hood on. Marcus Wright (Leo Woodall) a former neighbor of Olivia recognises her as she walks - he attempts to approach her but can’t seem to find the words. He simply just welcomes her back to town, mentioning he remembers her as a young girl and is glad to see her back in town.

Later, Olivia walks into a local cafe and runs into Tom Harris (Charlie Tahan), a local journalist who grew up watching Olivia on TV. Tom initially sees Olivia as a story to capitalize on - his chance to write about a fallen star - but as the two of them talk, he senses that there is more to Olivia than the tabloids show. Still, his professional instincts begin to tug at him, as she leaves the cafe he wonders whether this could be his big break.

Olivia walks the streets of her small hometown. Some residents seem to still recognise her and admire her - however most have moved on. She stumbles upon a house that she recognises from her childhood. Her former friend Rachel (Fivel Stewart) exits the building, Olivia approaches her straight away. Rachel seems to resent Olivia for past wrongdoings. Rachel mentions that she has moved on from Olivia - she left her when she needed her most. Olivia is shocked, she was following her dream, but now Rachel resents her? Their conversation is uncomfortable.

Olivia returns back home and immediately goes to her mother - she recognises that she may not fit in this town anymore. Linda mentions a therapist she visits - maybe it's a good idea for Olivia to as well? She seems hesitant at first but agrees.

Tom Harris spots Olivia walk into the therapist office. He immediately begins to think - could this be his chance to capture a big story.

Olivia visits Dr. Jenna Brooks (Eliza Coupe) - she is calm, grounded and unphased by Olivia’s fame. In the beginning Olivia feels as though no one can understand the public scrutiny she faces as a former star. Jenna listens with patience, gently guiding Olivia to confront her past, but Olivia struggles to face the truth of what the industry did to her—how she was molded into a character rather than allowed to grow into her own person.

Tom makes it seem like happenstance when he runs into Olivia once more. Seeing she is distressed he asks if she wants to go for a coffee. She nods.

While getting a coffee the conversation starts off small and meaningful - a smile appearing on Olivia’s face. Once that smile appears, Tom sees his chance. Tom begins bombarding Olivia with questions - about her childhood, about her life now and about the therapist. Why would she be going there? What’s happening in her life. She begs him to stop, tears falling from her eyes. She pleads with him to stop.

As Olivia leaves the cafe she is immediately met by paparazzi attempting to catch her out. She runs from the cameras trying to cover her face. She manages to get away, recognising a building up ahead. Tom stands back, almost regretting his actions.

She walks into the building, the old studio where she filmed her TV show as a child. The lot is abandoned, reminding her of a time when her life was dictated by schedules, managers, and the pressure to perform. Her return to the studio sparks a series of vivid flashbacks to the days when she was a star, showing the unhealthy relationships she had with her managers and co-stars. Olivia had been pushed into the limelight, forced to project an image that was not her own. As she stares at an old picture of herself she begins to hyperventilate. She pulls the picture off the wall and smashes it on the ground. She grabs a coat rack and begins slamming the picture letting out a guttural scream.

Olivia’s emotional state continues to deteriorate. She becomes more isolated, drinking excessively, and the pressure of living up to the world’s expectations starts to consume her. Her breakdowns grow more frequent, culminating in a night where Olivia publicly lashes out during an encounter with the press. This outburst is captured by photographers and further fuels her downward spiral.

Afterward, Olivia retreats even further. Her mother, Linda, tries to comfort her, but Olivia’s frustration with her family’s inability to understand her pain deepens. She reaches out to Gary Holloway (Mark Ruffalo), her estranged father, in a moment of vulnerability. Gary, a washed-up former actor himself, is living alone in a shabby apartment. His return into Olivia’s life brings to light the brokenness that has always existed in their family. Gary is too far gone to be the father Olivia needs, and his emotional neglect during her childhood is evident. As they talk, Olivia realizes that her father's own unfulfilled dreams contributed to her struggles. The cycle of failed hopes and dreams runs deep in her family. Nonetheless the two of them continue to talk, whether it’s to air out the grievances or reconnect, even Olivia is unsure. Before leaving Gary attempts to apologise to Olivia. He places his arms around her - hugging her. The two offer each other a smile - a silent but loving gesture between the two.

As she leaves her father she is approached once more by Marcus, he offers her a quiet presence, unlike everyone else - he does not see her as a star, but a person who’s seems to have been through a lot. He encourages her to let go of the past and accept the reality of who she has become. Despite their connection, Olivia is still trapped in her self-loathing and doubt, unwilling to fully open up to Marcus about her internal battles.

The opportunity for a fresh start presents itself when Olivia receives a call from her former agent, offering her a role in a small independent film. The role could help her reclaim some part of her old life—yet, it is also a reminder of everything she hated about the industry. She questions it. Should she accept the role, giving in to the familiar pressures of Hollywood, or should she let go of the past entirely?

In this moment, Olivia returns to Jenna, who has been a quiet yet steady presence throughout her journey. In their final therapy session, Jenna forces Olivia to confront the truth: she cannot keep running. She has to face the fact that her worth is not tied to her fame or the approval of others. Jenna helps her realize that healing means accepting who she truly is, flaws and all.

Olivia rings her agent back again. She tells the agent that she wants to accept the role.

A few months later.

After filming the independent film - Sunset Dreams - we see Olivia back in her hometown smiling on the streets, looking better than ever. When she returns to her home she immediately opens a bottle of whiskey, sits down at the door and drinks. She places the drink on the ground. She cries - almost in silence.

Release: The Bounty Hunter

 

The Bounty Hunter

Genre: Action

Director: Zack Snyder

Writer: Jacob Jones

Cast: Chris Evans, Mackenzie Davis, Michael Cimino, Maya Hawke, Redding Munsell, Zach Roerig

Budget: $85,000,000

Domestic Box Office: $46,900,222

Foreign Box Office: $33,194,206

Total Profit: -$53,001,701

Reaction: Definitely a disappointment following the studio's recent success and writer Jacob Jones' success earlier this season with Double Date.

"The Bounty Hunter is a gritty, stripped down action film that mostly succeeds on getting by on physicality and emotion rather than spectacle. The action itself is a bit more straight-forward than I was expecting from a Zack Snyder film, but it's mostly effective. Star Chris Evans does his best in the title role, even if he seems miscast as an aging boxing champ. He does manage to sell the desperation and does a good job with the father-son dynamic central to the plot, helping add stakes to an otherwise familiar story." - Derek Halston, Iron City Film Review

"The Bounty Hunter feels assembled from the most generic pieces of modern action cinema. The action and fight scenes, by the end, feel repetitive and never escalate in a meaningful way. Chris Evans is a puzzling fit as a battered, blue-collar bruiser, never fully convincing. The supporting cast only compounds the issue—Michael Cimino is strikingly unconvincing as a villain, lacking menace or credibility, while the rest of the ensemble feels miscast or underwritten. Combined with a predictable story and a title that sounds pulled from a stock template, the film ultimately struggles to make an impact." - Calvin Bryce, The Overlook Dispatch

"The Bounty Hunter feels like a much smaller, simpler movie awkwardly stretched into something bigger than it needs to be. The script leans heavily on exposition and coincidence, while Tony and Rat swing wildly between quirky comic villains and genuinely violent psychopaths without much connective tissue. Chris Evans does what he can but is clearly miscast and he struggles to make the “Frank the Tank” material feel anything but unintentionally goofy. There are some decent moments, but the plotting gets repetitive, and the rapid and frequent tonal shifts from scrappy action comedy to life-or-death hostage thriller can be jarring." - Gregory Fletcher, Los Angeles Times-Journal

Rated R for action violence and language