Would anyone besides Michel Gondry stage the climactic shootout in a contemporary superhero movie in a newspaper printing plant? I'm only surprised the scene doesn't also involve fax machines, pneumatic tubes and somebody delivering a telegram. To most viewers of "The Green Hornet," a long-hexed, big-budget 3-D project that has finally made its way to theaters, this will probably just look like an old-fashioned fight sequence, a bit retro in style and setting but in no way extraordinary. But to Gondry's fans -- who may have been whittled down to a purist core at this point by his wobbly, wandering career -- that scene will seem like the key to the whole enterprise.
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